The work of Francisco Suárez (León, 1965) places special emphasis on emphasizing the autonomy of painting, the physical and perceptual presence of the pictorial object. Each work is above all a statement about itself, the chromatic and visual stimuli that form it, the numerical relationships that compose it. But a work of art is not a mathematical equation. In contrast to the coldness to which the geometric can lead, we can see how in Lumen 49 his work preserves a certain mysterious impulse of what arises spontaneously in the act of painting.

Thus, his characteristic fields of lines are born from a process close to action painting, since they are actually drops of paint that, carefully placed by the artist, flow over the surface. The images thus acquire a special vibration and an absence of rigidity that facilitates interaction with the gaze. Undoubtedly, the attractiveness of his work is also due to an exquisite use of color. He does not want to produce a cold and cerebral structure but to obtain seductive presences, in which geometric purity serves as a vehicle to access the field of self-knowledge, a state perhaps close to contemplation.