“… I feel that my work of the 1970s was precisely some a series of parallel processes and leaps in the dark which I would
call illogical. I did engraving and drawing, but also selfportraits in my studio, intaglio, stitching, photographic reductions;
and all that in parallel to my experiencies in the theaters. I had already looked through the holes and underneath the
doors of the toillets of the theaters with my camera. What I´m trying to say is that at that time I had an eclectic attitude,
open to experiment.
... The drawings were made with a lead pencil, line by line, the same as the engravings. The background to the drawings,
for example, lines which fade into the distance and produce a grid. The table that I was drawing on was like a laboratory
table, impeccable. I coverd the paper, just uncovering the area on wich I was working, and once I had finished, I
covered it up again. I didn´t use a sharpener for the pencil, but surgeon´s scalpel, which gave me a very long point, and
I would patiently turn it in my hand, so that the point would always be uniform. I worked on the engravings in the same
way, with a very fine point; for example, to et the texture of the engraving of La cartera ( The handbag ), by constructing
an instrument which was a kind of wire paintbrush. In both engraving and drawing. I think that this was a technical and
conceptual breakway.”
