From Formless Matter Painting to Geometric Schematisation

Navarro’s affinity with matter gradually evolved towards an increasingly essential representation. The artist now focused his gaze on other objects in his environment: mail boxes, lampposts, drainage manholes, door peepholes, trap doors for accessing water or gas utilities. This new language—geometric schematisation—eventually led him to geometric abstraction.

This process reveals an exercise in stylistic refinement, a transition to essentiality. Some of the key characteristics from this phase are: 

• Simple everyday elements dominate the entire picture. The colour range is reduced to white with tiny touches of black, and very occasionally the use of red. 
  
• In these pictures he works the plastic paint directly on the canvas, creating relief and the real shape of the object. 
  
• He abandons the collage technique that he used with the Puertas [Doors] series. The pieces have an enormous purity, while the modest objects acquire their own powerful dignity. 

This shift towards the essence and purity of forms gradually paved the way to geometric schematisation.