Choosing painting as a process of creation in a personal, substantial and conscious way, choosing it also as a means of expression to represent images of a reality of one’s own (the surrounding reality, the one attached to the conceptions and perceptions of one’s surroundings from a state of free will), an evolution of reality is planned, at hand and in the mind. That is to say, from a way of making painting still with glimpses of certain figurative references, a way of making painting is sought in order to know how to do it with the minimum trace on the support. That is why, as a strategy, two images of the same reality are collected, the maximum image and the minimum image, in order to then, through a perceptive understanding of both approaches, transform the sketches into the final work.

Although it is not only a question of studying perception at maximum and minimum, but also and with the same relevance, an exhaustive investigation of the necessary supports, the appropriate materials, the colour or the presence or absence of the same, proceeding to another type of related choice that leads to the most optimal results according to the different cases. Along with it, the conception of a universal creative process model.

The final result from the painting can only be engendered from the white, the white colour, applied on the raw canvas. White on the raw canvas is the universe of creative thought or the experience of painting as the maximum and minimum relationship with the surrounding perception. This is my bet and that of the present TFG, with the aim of achieving a response capable of seeing, representing and painting the environment from the perspective of a free perception, which wants to build a poetic experience between one’s own know-how with painting and the surrounding nature that inspires it.