The superposition of three superblack canvases is almost invisible to the eye, becoming one. Their respective dimensions quote the most iconic monochromes: Klein, Malewich, and Reinhard. Here the visible and the invisible, space and representation, the void and infinity are shifted into the realm of today's nanotechnologies.

36 black moving squares on black surface reveal only on close look emerging out of the superblack deepness. Conciliating the boundaries between the visible and the invisible, the static and the kinetic, and the predictable with the unexpected, this work puts Malevich 'pure perception' into nowadays perspective.

These paintings explore the legacy of the monochrome. Here, one and the same painting can be all white and at another moment all black. Between these two states, the viewer see a slow material transformation. This paradox questions the monochrome as an absolute state of pure colour and constantly negotiates its condition by being simultaneously one and its opposite.

Week after week, a strip of tape is randomly placed on a copper and lead sheet to prevent its oxidation. After a year, the 52 tapes are removed and their traces become visible. Exposed to air again, they begin to fade. It's a painting with time, a negotiation between the visible, the invisible and the things we remember. The work is a diary and a memory of what a painting could be.

The radio-luminescent monochrome constantly emits energy into space, a painting in decay made tangible by the clicking Geiger counter. Here, colour is a state in time that turns to black in 1600 years, a process whose magnitude makes it invisible to the viewer, who is left with the concept beyond its material presence.

The artwork quotes Rauschenberg's emblematic 'erase...' written over On Kawara's 1968 S.M.S. edition. This superimposition gives the fading print a specific reading that renders invisible the artist's 100-year calendar of 'date paintings'- it confronts the material process (time) with the dematerialization of art (idea)-while also being a conceptual homage.

24 unique photocopies form a single monochrome. Each has been created copying daylight over and over until the heavily inked paper accumulates marks left by the machine's toner. It's painting with light, that turns into deep darkness, and where the intention balance with the accident.

At first glance, these tessellated reliefs appear like perfect monochromes that reveal their true structure only at a close look. A visual enigma between the obvious and the invisible, logic and randomness.

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Starting point: a blank white page is photocopied and then the copy is copied until the errors invert white and black. Each set is unique, as the machine imprints its aesthetic on the original concept. The work renders visible entropy and each attempt adds to the library of the failure's uniqueness.

The 'U238 - Pb206' work juxtaposes uranium powder and lead, two stages of the same material separated by millions of years, and contrasts their respective colours: Yellow and Grey. Likewise, the work relates the concept of monochrome to time. Its scales induce the inconceivable, the unthinkable and the unimaginable as part of the ontology of this singular form of painting.

A continuous slow transformation from one colour to other colours, indicated by the title of the artwork, take place. This material process plays with what we commonly understand as 'pure' colour and its most emblematic manifestation - the monochrome. In this way, the work emphasises that colour is a phenomenological, philosophical, and scientific construct.