The work of Carlos León began to draw attention in the 1970s, when he exhibited with a group of abstract artists after returning from a productive trip to Paris, where he joined the Supports-Surfaces movement, as well as facilitating the integration in the group of a number of Spanish painters of his generation. In the 1990s, after a seven-year stay in New York during which he discovered American Abstract Expressionism firsthand, his work took a decisive new turn: he decided to work on Dibond rather than traditional canvas. This decision led him to give up brushes and use his fingers to work directly with oil paint. He constantly experiments with glazes and blotches of paint, achieving results that present a highly interesting contrast between manual and craft techniques in the application of paint and the coldness of the work surface provided by this new material. His work, always framed within abstract parameters, is also defended by the artist himself in his musings on figuration; León says that ‘forests and fronds, flesh and bodies’ provide the inspiration for his paintings. His work is composed of transparencies, glazes, and superimpositions in restless interplay, reflecting a constant striving to achieve abstraction through expressionism. All these characteristics are exemplified in Red Fandango, where one can also discern the influence of Eastern painting and of the artist Cy Twombly. His painting also reflects a very strong interest in colour, which the artist fully masters. In this case, shades of crimson and red predominate.