Bonifacio was a rather atypical and somewhat eccentric painter, who moved from the world of bullfighting—he was an apprentice matador—to the visual arts to which he devoted himself fully from 1958 on, when he created a personal style that would stay with him for good. He belongs to the generation of artists that renewed Spanish painting in the second half of the twentieth century, travelling new paths of non-figurative representation. He was also part of the group of artists who settled in Cuenca in the 1960s, turning the city into an important artistic and cultural hub.

Though Bonifacio always shunned labels, his painting, defined by notable dreamlike references, has been ascribed to . His works pursue dynamic shapes to which he attributed a poetic language with evident links to the . One can also perceive echoes from Willem de Kooning (1904-1997) and Roberto Matta (1911-2002) in the audacious use of colours and tones. Standing out in his production is the body of work of drawings and engravings of insects he carried out in 1971-1972. In those works, Bonifacio researched and dissected their physical features from an artistic angle. He would later use these studies to give shape to the characters inhabiting his paintings, many of whom are hybrids of humans and arthropods.

The vivacity of his work is the result of his highly personal creative process, through which the final work is gradually revealed. Bonifacio did not start by painting on the blank canvas; once it had been prepared at the studio, the artist splattered and dirtied the canvas with any substance he found at hand and left it like that for a few days. Then he returned to the painting and copied on it with charcoal a previously drawn sketch. On that ground he then freely applied colour in all directions. The outcome was a highly expressive composition, as seen in this Triángulo azul (Blue Triangle).

This work was painted in the late 1970s, when Bonifacio was at the height of his powers. It provides an excellent example of the artist’s most energetic, airier and brighter painting, in which all elements—figures, signs and triangles—flow freely in an open space dominated by clear, transparent colours and evident echoes of nature.