Painting

His first paintings grew out of expressionism, and above all abstract expressionism, under the influence of Carlos Mérida, Rufino Tamayo, Santos Balmori, Kandinsky, Wifredo Lam and of course Picasso — and, just as importantly, of the light of Rembrandt and Caravaggio.

Around 1980 he returned for good to a geometric figuration, announced by his exhibition “Woman” at the Museum of Modern Art in Mexico City. The female figure became his almost exclusive subject, with excursions back to abstraction, to expressionist landscape, to erotic art and to the bullfight.

In his oils lives a celebration of life: figures dance in an endless fiesta, sometimes erotic, sometimes innocent, lit by a chiaroscuro he learned from Rembrandt. He built his surfaces thick, by a method of his own, so that the paint itself has relief.