“Geometry has always had an influence in Art, from prehistoric paintings to the latest Vanguards. This search for an sensed form has always existed.” (Pablo Palazuelo)

Although they have an apparently simple character, Palazuelo’s creations contain an enormous complexity, the fruit of his interest in ancient geometries, oriental cosmogonies, and texts by Eliade and Bachelard. All of these doctrines have been taken in and reinterpreted to develop a personal theory that the artist has often expounded in prestigious publications such as the Revista de Occidente (Journal of the West) and in numerous monographic essays.

Palazuelo’s work constantly mutated, which forces us to group it in series for each stage. Whether in three dimensions, on canvas or on paper, he always taked exquisite care with his chromatic selection. He never applied color without a conscientious preliminary preparation that seemed endless until he achieves the perfect mix.

Palazuelo studied architecture in Great Britain between 1933 and 1936. There he founded the group “Abstraction Creation” together with Victor Pasmore, Max Bill and Ben Nicholson. Later he travelled to Paris with a grant from the French government, and there he became friendly with Eusebio Sempere and Eduardo Chillida. It was also in Paris where a notable acceleration in his artistic evolution from Cubism to Geometric Abstraction occurred, influenced by Mondrian and Klee.

His paintings are generally structured around polygons that stretch and lengthen as if they were malleable materials. Having been one of the pioneers of abstract Art in Spain, his more mature work continued to show ambitious renovation and produces admiration for this man born in 1916.

In 1982 he received the Gold Medal of Fine Arts, and in 1999 the National Award for Plastic Arts. In 2004, the King of Spain also awarded him the Velázquez Prize.