This piece is dedicated to Alison Peters, Vicente’s step-daughter, who had died two years previously. During these years he travelled to Morocco, Mexico and Turkey where he absorbed the light from those countries, very different from that of North America, and one which he would translate into his paintings at that time. Despite his abstract sense, he still retains in some way the teachings of Bores and of the painters from the Paris School.
Enveloped in a dense grey fog, in a luminous semi-darkness. A subtle halo of light throbs around vague blue forms in the foreground. It is a painting impregnated in reminiscence.
Greys and blues dominate the strict spectrum in which sources of light open like faint gap. The result is what prompted its title: “Harmony”.
The sombreness of the colours on a grey background captures three masses of blue, a rectangle and two of no particular shape, plus a white rectangular spot on the right to balance the composition; only the grey background and the blue spots floating on the magma not only do not obstruct, but quite the opposite, they enhance the sense of homage to the memory of Alison.