The green forms are reminiscent of what could be a large French window, and at the same time they become part of the space in which they are placed and organised. They are not there just as inert forms: the blue of each of the areas which divide the painting because of their activity, is different, its modulation varies and its luminosity vibrates when incorporating the green and the purple. The simple reticular structure introduces a certain non-emphatic monumentality, as if the painting was a frame for the light trapped in it. The vertical and the horizontal are benchmarks that Vicente did not forget. The piece is executed in turquoises, greens, violets and blues, and the effect of calm and depth it produces is of a different order from the purely visual; it appears as a mental state. Even the sensation of depth is not spatial but spiritual. The vision of the interior landscape is prominent and Vicente defined it as follows: If I had to define the theme of my painting I would say it is an interior landscape. This image becomes the theme. The idea is always the same, the same image based on an accumulation of experiences. I do not know if anyone can identify that image. When I say landscape I am referring to a certain structure. The structure of the painting is a landscape, not the colour. That is why I say they are interior landscapes.