Thinking the murals is a complex and chaotic process, where I think about diverse questions in a parallel way, connecting them and isolating them, considering diverse possibilities and deciding little by little the paintings. Finally, in the final project of the murals, I gather a set of guidelines that I will use as a start point for the accomplishment of the paintings.

Thinking about architectural space

I interpret it as a continent of the paintings, attending to its functional and visual dynamics and to its three-dimensional configuration. In fact, I have always considered the fresco mural painting as a part of the architecture, because it supposes the definition of the surfaces of the walls in its visual slope. To think the space I use graphs, perspectives, three-dimensional models and photographs.

Thinking about the symbolic and representational space

This area of thought comes determined by the subject matter. The fresco has a great aptitude to confront many subject matters, because the symbolic and representative forms achieve, in the architectural space, new meanings. I think about the immersed spectator about the materiality of the painting, as an experience also real and natural of light and colour.

Thinking about the colour

For it, I depart from the palette of the fresco, relatively poor, formed by tonalities of pigments ochre, natural and brown Siennas, red Pouzzoli, colour with red ochre, green lands, lands shades, black and pigments of oxide of iron. Nevertheless, this palette makes possible a wide variety of tones, shades and combinations, demanding simultaneously a certain humility and subtlety, and great skill in the pictorial work. Though the modern palette brings us over in the light of the things, the palette of the fresco leads us to the own colour of the things and to its essence. The colour of the fresco on the target of the lime is revealed transparently, cleanly and luminously, achieving high degrees of purity.

These areas of thought of the murals are connected and composed by me, assigning subject matters to the space and discovering the symbolic power of each one of them. That is to say, constructing the space with the painting, imagining the sum of the diverse visual sensations that will form the perception of this space.

The picture, as pictorial autonomous object, has managed to be the symbol of the painting of the modern period, granting the protagonisme to the artist and considering the painting to be always a discipline closed in itself. The fresco mural painting has allowed me to break fully the conceptual scheme of the picture and of the painting as an object, making it permeable to other disciplines, confronting subject matters and thoughts, recovering the active protagonisme of the spectator and the presence of the painting in the architectural alive spaces.