“The spectator also acts, just like the pupil or the scholar. They observe, select, compare, interpret.” Jacques Rancière

Within Diego Benéitez's pictorial research, landscape occupies a central place, even when its references to the natural world seem to recede into the background. The horizon, expanses of colour and variations in light are fundamental elements of his compositions. Through them, a territory takes shape whose geographical particularities have gradually dissolved. Landscape thus progressively abandons its descriptive function and assumes a decisive role in the exploration of the wide-ranging possibilities of his painting.

In works such as El alma dormida (2026), Lo que se apaga (2026) and Ocaso (2026), the horizon line establishes an elementary division between sky and land. However, this separation loses some of its geographical function. Colour fields expand, spatial references diminish, and gradations of light construct places that are difficult to locate beyond the picture itself.