Judging by the constraint and severity of its palette, this is a highly meditated painting, resulting from an expurgation of forms and economy of matter.

Initially, Cáccamo’s non-objective vocabulary owed much to the Atlántica movement and Catalan neo-expressionistic groups. Grounded in a brand of abstract painting influenced by Antoni Tàpies (1923-2012) and Joan Miró (1893-1983), her works gained in character, gradually forging a personal vernacular consisting in flooding the support with large areas of colour. All the elements—matter, form, energy—are interconnected in a shared space, and Cáccamo uses them to establish a connection between the real and the unreal, the limited and the unlimited. The void does not exist but, should it exist, it would be unrecognisable.

In this painting, the areas of colour are the outcome of chance and calculation. By purging means, the artist creates a dialogue between the materials and the distribution of colour. Diluted in glazes, the colour spreads and impregnates the surface of three fragments of cotton with a rough uneven texture.