An aseptic, merciless, operating room light is thrown upon the figures belonging to the new works of graphics, in which the artist returns to the human body and figure, after having explored nonanthropomorphic territories in his previous exhibitions, such as chemical theatre and zoomorphism. Here, the body is presented only partially, showing only its threatened, wounded, covered, bandaged sections, which are to be found on the way to an improbable convalescence. Threat and anxiety are the two axes around which this new series is organised. We are not referring only to the medical threat and anxiety comprised in the not ambiguous title of the collection- Post-surgery- but to a very noticeable halo of anxiety which surrounds every work. The marginal details are the ones which create this aura. In Pre-surgery, a rumpled bandage thrown on the floor and a sheet of paper hanging on a nail in the background induce fear as intensely as the uptight crossed-legged position which dominates the foreground does. In Eye-surgery, an electric cable sticked with adhesive bandage to a dirty wall is the counterpoint which matches the enormous bandaged eye within the composition. This eye seems to be growing out of the same wall, the bandage being a counterpoint for the malign mole which appears under it. In Post-surgery, the woman’s face, which vaguely resembles an icon, completes the revealing of the bandaged wound that wreathes her body. Neither her physiognomy nor body are totally exposed, as neither the wound nor the scar are visible. These are always avoided or hidden from looks and post-surgical curiosity, this resulting in intensifying and imaginarily potentiating both the wound and scar. In fact, the centre of gravity of all these works is not to be found in their visible parts, but in the obscure space of fear and unconfessed relief.