From the beginning of the 1980s, the use of colour multiplied, it becomes more varied, while the areas or zones where the forms fragment the surface penetrate and invade each other, they flow, and at the same time the lack of focus is accentuated as if everything were made larger with a magnifying glass and being seen from a very close distance. The basic tones of Esteban Vicente are maintained in a veritable symphony of mauves, greens, yellows, oranges and blues.
This piece has an intense and luminous beauty. In a way it is a work of synthesis since in it the large colour areas that connected Vicente with Rothko are fused, and the demarcated and isolated areas of the 1950s reappear, but this is all handled with an exquisite subtleness, giving the boundaries of the colour the feel of cotton wool. The colour is transformed by the interaction with another of the essential components of Esteban Vicente’s painting: light, in the words of the artist: colour means light if one wants to express colour.
The cold blue and green forms float in a warm background. The forms that appear are sinuous and sensual, not delineated. From this time onward melancholy, the inner look and memories would start to appear in his work. This piece is more of a portrait than an evocation.