According to the dictionary definition, to germinate, applied to something moral or abstract, means “to sprout, to grow, to develop”. That is what is happening in this work, in which the material deliberately germinates on the picture, just as a seed sprouts in the earth.

Fega began his career with gestural and matter painting, specialising in landscapes, but he gradually embraced
Informalismo, to satisfy his constant creative need. He was no longer so interested in form, but rather in projecting matter.

Like José Manuel Ciria (1960) and José Joven (1959) he is interested in stains and marks from which pictures develop; he does not confine himself to working on a particular image. He creates elements far removed from conscious thought, on what the artist himself calls “the dark side, arousing mystery, something magical and unknown…” He therefore concentrates on finding a form that emerges from the material by accident and wanders freely, though always in a controlled manner, over the support, creating figures which seem to be constantly changing.

The way the stain develops does not depend on the artist’s reason, nor on his hand, but on the gestural action of his body, something he learned from the Abstract Expressionists during his trip to New York in 1978. The creative process demands patient contemplation, waiting for the forms to emerge naturally, but without losing control, seeking a balance between restraint and ostentation.

Germinación (1990) is a work which centres on the mystery of the earth, with references to biology, not of a mimetic kind, as has been the case throughout the history of art, but as a model of the generation of life, like a kind of ritual that pursues the inner reason for the formation of things.

He works on nuanced backgrounds of gentle brownish and rusty colours, contrasting with the dark greys and browns he tends to use to frame what could be regarded as the main scene, as is the case in this work. He thereby highlights elements which would normally remain in the shadows and turns the frame into an essential part of the equilibrium of the work.

In the centre of the composition, looking as if they had emerged from the earth, are two mysteriously symmetrical twin forms, tending towards a unified configuration. Underneath them there is an undecipherable inscription reminiscent of Roman letters in no particular order: INAL OSMVPR MVC. It is as if the artist wanted to return to a primitive time before writing, to the starting point of the origin of nature.