Archaeology, as well as being the science that interprets history through its heritage legacy, has a poetic reading, insofar as the pieces that reach us today are incomplete, due to fracture or because they are unfinished. This has a great power of evocation, as in many cases we do not have sufficient documentary sources to know their original appearance.
Miguel Núñez bases his work on the contemplation of the environment and the embrace of tradition, giving rise to representations of classical sculptures and other archaeological elements in the natural environment. Dramatised compositions where the archaeological manifests personal concerns and the landscape is understood as something to be lived and not to be seen.
Abstraction is also very present in his work, not in a visible way but in a conceptual way during the process, since abstract painting, like all constructed things, is subject to a well-defined limitation. In his case that limitation is his own experience with painting. His interest in classical sculpture is due to the fact that they determined human representation at the most dignified level. Therefore, when he deals with concrete objects, they must possess an abstract dignity that he only finds in an adequate form in antiquity.
In his use of metaphor, the artist is drawn to Paul Ricoeur’s definition of metaphor as that rhetorical process by which discourse liberates the power of certain fictions to rewrite reality.
It is a matter of experimenting and slowly threading together multiple pictorial languages, understanding painting as the dynamic obtaining of solutions that end up configuring a creative itinerary. This is the reason for the development of a technique that is in accordance with one’s own temperament so that it allows one to express what one wants to express.