"I now had a black surface, of inked wood, full of small white incisions (the pores of the wood) and my knife bared the white space: firstly threads and surfaces that grew slowly, against the very system of xylography, where the white was discreet and almost always indicated the limit or profile of the image or figure. What interested me was to open bigger and bigger spaces (the white) to reach the ultimate limit of expression through a minimum of elements. An almost entirely white surface (the very negation of Xylo) and black threads vibrating due to the quality itself of the wood pores. (...) In fact, I was solving problems that went beyond the limitations of the engraving’s size. I think these engravings (Tecelares) have a monumentality, as if they were too big. They admit major expansions.”