The gesture in painting, that in itself invades fields while joyfully flowing freely, as well as the interior need to know what was in front of me in its chaotic development, guided me to look for the example of painters I admired: Grünewald, El Greco, Rembrandt, Goya and the Romantics in general. But after having received also the painting examples that emerged subsequent to the Second World War—action-painting and informalism—and not denying the subsequent vanguards (on the contrary, loving them), I felt nurtured equally by the figurative and abstract experiences. The calling environment and the enveloping passion were my first assumptions as profession of faith. The Argentine history in this respect was a source of inspiration. My first four exhibitions—between 1959 and 1961—and in particular the last one of them, the Serie Federal, represent an example of this first phase. When this phase was over, when the train stopped at the first station, I saw the parallel routes run by the trains taken by Ernesto Deira, Rómulo Macció and Jorge de la Vega. Thus, the group was born and its first exhibition was called Otra Figuración.