Yago Hortal poses in Rigor y Rosa an exercise of synthesis and confrontation of the semantic of his language and stresses the foundations of his painting through an inversion of the assimilated concepts and a resignation of his comfort zone. In an introspective challenge and through a formal reduction of expressive mediums he bares his work into form and background thus reaffirming his practice.

Through a visual palette endowed with a great variety of tones and fluorescent colours, Yago Hortal inverts the duality of neutral background and relevance of the brushstroke to deepen in the specificities of his praxis and to give value to the whole painting. In the optical cognitive illusions, as the Rubin’s Vase investigated by the psychologist Edgar Rubin and developed by Gestalt theory, it is produced the multistable perception or tendency to jump back and forth between two or more interpretations, in this way Hortal plays with the alternation of the role of the background and figure. Thus, he emphasizes the entire pictorial surface and claims the contribution of the background as a positive space to perceive in an autonomous way and on equal terms with the brushstroke of the foreground.