The lines organically structure the blankness of the paper, until they create an autonomous space in which the information is inscribed. Every drawing synthesises, in a representation that is both encoded and specific at the same time, a concept or reflection that are open to interpretation, but deliberately channeled by the author. The archetypal ideas are extracted from the real events, which can be developed with broader dialectic expanse and can be applied to a large number of specific situations. The isolated images make sense by themselves, but when several of these are contemplated at the same time, a dialogue is established that makes possible a more complete and profound comprehension of each one; in the strictest sense of the term, there is no linear continuity between them, because the underlying narrative that encapsulates them is History itself.
The essential historical processes are contained within the period of time, in what happens before or after the outstanding moment. The representation is left bereft of dramatic elements or individual heroics, the characters act as representatives of class, qualified but not individualised. There are certain basic types that recur in every image, although their place in society is different in each situation and in every period. The conflicts are presented from a perspective that is not Manichaean, which allow viewers to position themselves freely, invariably not falling into the trap of a relativism that neutralises the possibility of judgement; the contradictions, at times unsolvable, are understood not only as a reflection of reality but also as factors of change. The descriptive clarity and the abundance of details turn the metaphors into new realities, encoded in a coherent way: fables with no obvious moral, fragments of a contemporary mythology.
