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51

Límites, 1974

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After the discipline of the Phosphorescences, in my view there began the most admirable cycle of all of Guerrero’s admirable oeuvre, covering almost all of the seventies. Combining order and…

52

Crecientes horizontales, 1973

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…glass windows onto the clean bald heads of the worshippers at the Nocturnal Adoration. There were spheres and ovals, green, blue, yellow, violet and red, and my thoughts followed the…

54

Señales amarillas, 1973

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Red has this… it’s nothing tragic or anything like that… red… the red ochre that we used in the villages of Andalusia… a red taken from the earth… it’s not…

55

Alcazaba, 1973

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…composition he titled Alcazaba: the occasional existence, together with frequent symmetrical vertical lines, of other horizontal lines defined by the reflection of the real images on the surface of the…

57

Penitentes, 1972

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…me to the convent, which was white on the outside, but I only saw darkness inside. They set me on the turntable and the nuns on the other side would…

58

Solitarios, 1972

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…and with complete control. The paintings open up windows and doors leading to a path in the distance, where there is limitless, endless light and air and water. JOSÉ GUERRERO…

59

Fosforescencia, 1971

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…and apparently contradictory edge taking him from the subjective to the objective, from unconscious to conscious, from gesture to containment, from abstraction to figuration. But it is precisely along these…