Entrance (Entrada), 1987.
The play between the ochres, yellows and blues, the subtlety of their relationships, are all subjects that may conceal the brilliance of others, but not because they are less evident or important. As is characteristic of his work, Vicente here opts for a construction that appears risky, casual, in which each subject leads to the next. The lower right hand angle indicates a direction in which several forms “enter” the centre of the piece, making – with their modulation – a true entrance: a white rectangle, partially hidden, intensifies the light in that centre and behaves as an echo of the bottom right hand angle, also white. The whole image vibrates with the resonance between the colours, which can be a lyrical apotheosis of light.