Michavila’s interest in geometry can be traced back to his landscapes from 1954, in which we can already detect Cubist influences. This trend found continuity in the 1960s onwards through the artist’s connection with groups leaning towards and geometry, first and foremost with Parpalló, in spite of its formal heterogeneity, and definitively with , a group that drew on scientific knowledge in its quest for a new aesthetic vision.

The influence of these experiences can be noted in Michavila’s practice in the 1960s and 1970s, when he established a dialogue between geometry and colour in a conscientiously meditated form. For the artist, his Constructivist work is the by-product of “a period of deep introspection and reflection on the parameters of painting, form, composition, colour, and space.”

In this relief, Michavila experiments with steel, a rather unusual material in his eminently pictorial practice. Colour is stripped down to the pure material, without additions. The sharp layered forms and the differing directions of their relative vertexes give the work a dynamic sense of right-to-left movement reinforced by the presence of elements entering and leaving the plane, lending it a third dimension. The result is a fully accomplished work of great artistic quality.