In Paris in the early eighties, Barceló embarked on a major series of still lifes that are tables on which he experiments with pictorial material. Fascinated by the work of Jackson Pollock and Cy Twombly, he works with the canvas on the ground and moves over it with great freedom of execution "to the point of confusing north and south, moving around on and within the picture, a space with multiple readings, a whirlwind." At the end of the eighties, after a time in New York, the most autobiographical aspects of his work disappear and the expressionist and material space becomes more essential and reflective, the colours are refined and material and light are concentrated in the search for transparency and opacity, in the tension set up between the visible and the invisible. In the nineties, however, he went back to the raw expressionism of his early works with the generous use of material in portraits and still lifes. The work Six figues chines, 1997, tells us of the organic matter that contains time, and therefore change, in its essence, and becomes a metaphor for the dialogue between the artist and his everyday surroundings. Immersed in painting and seduced by the dynamic tension of the material loaded gesture, this poet of inner landscapes drafts spaces for reflection with overflowing passion.