In the nineties, the outpouring of colour that had characterised Xavier Grau's work during the previous decade underwent a change. The chromatic range, often dominated by primary colours, shrank. In Untitled, white and red are organised architecturally in a space without a centre or edges, amidst a chaos of smudges that spread in all directions. Automatism and improvisation generate an apparently disordered and contradictory space of light where the drawing takes on greater tension and importance. Different atmospheres interpenetrate and blend into one another, leaving gesture in charge of the structural challenge. In Grau's abstract landscape the conflict is resolved with great rhythm and dynamism. Interested in operating from a confused perception of reality, he constructs everything in a fragmented and constantly shifting world, the magma of internal harmony in which, once again, we are surprised to find traces of certain geometric forms. The work does not begin with a preconceived idea; instead, the artist confronts reflection and memory with intuition, with an essentially spontaneous, automatic gesture. For Grau, painting is a form of thought in itself. Delving into the specific expressiveness of painting, he creates landscapes filled with an Expressionist dramatic quality of bottomless depths, dreamlike atmospheres and emotional spaces marked by sharp acidity. Ultimately, Xavier Grau paints to have ideas.