My yearning for the American nature originated during a visit to the Amazonas region on my way back to Paris, following a trip to Buenos Aires to set up an artwork exhibition. Impressed by the strength of the Amazonian landscape, I intended to understand natural forces through its abstract dynamism. Thus, Serie amazónica (Amazonian Series) was born. But this nomenclature is rather a global way to name a constant—though not an exhaustive one—in my artwork between 1981 and 1985.

The characteristic of this series is the development of an abstract conception of landscape (that is, beyond details) where the call for plastic elements to flow freely prevails. However, in these artworks there are figurative references as a table of contents, in order to avoid considering them from an absolutely abstract viewpoint.

Simultaneously, I felt nostalgia about another type of freedom such as the one I took at the time of my installations: playing with a fold of a canvas, or with the vacant space of a frame, or with wood silhouettes escaping from the painting, or planning the painting backward and forward. That is to say, I avoided going back to self-destruction works. These approaches alternated with the orthodox approaches regarding the plane as well as with those I had begun in the Serie amazónica. Both attitudes live together in different paintings, but I am inclined to complement them with others. As an example of the synthesis between the two of them I can mention Estructura de un paisaje (Structure of a Landscape) and Dentro del paisaje (Inside the Landscape), both of 1982.