Characterised by an increasingly hermetic but also highly lyrical tone, Sicilia’s work in recent years continues to push against the boundaries of painting. After using only white for quite some time, the series ‘L’horabaixa -la llum que s’apaga-’ grew out of an investigation that led the artist to take a renewed interest in colour and light. Drawn to problems of perception, Sicilia studies its effects by looking at differences in the way light is refracted and reflected when it strikes material. Pure wax is the medium he uses to articulate a discourse on the transience of twilight: relationship and contrast between background and figure, or transparency and vibration between the image of a large flower and the wax in which it is embedded. This burst of light and colour is revealed in an apparently homogenous plane, but disappears, like twilight, in a material that is extremely equivocal and cunning. The texture of the wax turns forms into suggestion and emotion. The various densities or strata of the material allow us to apprehend it, but at the same time, in the depth of its layers, form is subtly dissolved and becomes blurred and unclear. Sicilia saturates the sensuality of the form as boundary-expansion and immobility-dynamism. His language is that of the inner vision of things: the oil slips and slides within the wax in a fluid way, and the medium accumulate space and time, giving rise to an interplay of opposing tensions in which various dualities—transparency and opacity, order and gesture, surface and depth—coexist.