The central order to which Piero Figueroa Bravo refers us is that of painting itself and its constructive processes. If his paintings weave together the interest in relations of proportion, so dear to the Renaissance, the material exploration promoted by the informalists, the languages of gesturality, inherited from expressionism, and the enquiries into the demands of representation, channelled from “bad painting”, it is because his aim is to reflect, from painting itself, on the various certainties and illusions that painting has offered us throughout its history.