The kinetic work of Cruz-Díez assumes, more and more, an unprecedented place in the world of plastic arts, a place reached by the several variants of its physiocromies in the construction of an autonomous pictorial structure. In this transmutation of plastic elements and graphic signs, the artist elaborates a solid texture in very smooth matter, which radiates the chromatic matter - "the additive color", according to his words - based on a large number of parallel lines, of different colors that will mix and create a new color to the eyes of those who observe them. The almost velour system overlaps the colours, and each one of them shows as if it 'swallows' the others, always vibrating and with various possibilities that move them according to the plastic element.
The space of Cruz-Díez, defined by kinetic chromaticism, comes from his corporeal experience, which signals to him that the spectator's gaze is necessary to complete the work and he must participate in this double vibration of the surface that emanates from the color and the form he calls "chromointerference".
In "Fisiocromias", the artist will revalue each of the colors he employs in the specific space and also the variation of the sizes of the blades, thus creating new possibilities of forms and chromatic formulas of juxtaposition, resulting in volumes that often annul the geometrization of the pictorial field. In certain physiocromies, Cruz-Díez gives total autonomy to color.
Thus, the artist has been constantly enriching the contemporary plastic language, in which he acts not through the myth of the pure artist, but through a being aware of the present time, the current technological possibilities, the knowledge of drawing and line and optical possibilities.
The chromosaturation, in which "colour is in space", becomes the climate of chromointerference and the event takes place in the presence of colour that transcends with the symbolic dimension of light. In other words, the spectator's gaze is invited to transit between the rays of color, by the effects of shadow and light and by the games of tonal contrasts materialized in the ephemeral visual effects and illusion.
Cruz-Díez establishes the method that gives a certain philosophical consistency of maturity to its poetics and marges the physicality of color and its nuances, the system of colors and the luminosity that emanates from them, turning the experience of the look into an event.
“Compreendi que el problema no era mirar sino ver” – Cruz-Díez