People around the world I

This series of three colour works, executed with biros, is an intimate study of the human in its diversity and depth. Each portrait captures a different face, a particular energy, united by the same technique that combines the immediacy of the pen with the sensitivity of colour applied with restraint and decision.

One of the paintings portrays an Indian man with an intense gaze and abundant, almost wild, grey hair. His hair is not just a physical feature, but a presence, a symbol of identity, of history, of belonging. The pen precisely details the folds of the face, while the colour brings warmth, highlights the contrast between the skin and the hair, and lets the background breathe with a subtly charged atmosphere.

The other two pieces complete the set: different faces, different silences. One perhaps more serene, the other more defiant, but all traversed by the same intention: to capture the invisible. The emotion beneath the surface. The instant suspended between what is seen and what is sensed.

It is not a series about specific characters, but about what they have in common: the imprint of time, the strength of expression, the dignity that emanates from the real. The pen, with its definitive stroke, forces us to look carefully; the colour, with its fragility, reminds us that there is beauty even in the unfinished.

Three paintings. Three faces. A single voice.

Afternoon in Foz

This coastal landscape, executed in watercolour and pen, captures a calm, grey scene on the beach at Foz, Galicia. It is a dull afternoon, one of those that seem to be on the verge of rain, with the sky covered by heavy clouds and the sea very low, exposing the wet sand, dotted with puddles and reflections.

The buildings of the promenade line the background, solid and silent, like motionless witnesses to the passage of time. The watercolour, with its desaturated tones and soft washes, gives shape to the overcast sky and the receding sea. The pen, with its firmer line, defines the contours of the buildings, the lines of the horizon, and some details barely suggested on the coast.

The scene breathes humidity, silence, and a discreet beauty. There is no drama in this dark afternoon, but rather a dense, almost introspective calm, as if the beach were waiting for something: the return of the tide, the light of a new day, or simply the passing of whoever looks at it with attention.

This drawing is a tribute to the Atlantic north, to its restrained light, to the serene melancholy of its coastal villages. A landscape that does not need the sun to move, because in the grey stillness also dwells beauty.