Nico Munuera proposes an ouvre constructed from a slow and fluid gaze. Far from being a capricious affirmation, and recognizing his contradictory appearance, this paradox justifies itself if we assume that, in painting, the image never seems to show itself in its entirety. As if we only have access to one part to its developing process, before his paintings we feel a sort of abysmal seduction, an undefined attraction. Our attention delays and doesn’t seem to gain consistency, perhaps because all of the focus goes to color, that acts as horizon, but also as wall. Color as a structural element defies the intuitive, and at the same time demands a slow time, meditative, as if we were listening to a sole note in an agonizing harmony. This is how a movement idea settles.