Guillermo Rubí starts from immaterial and abstract concepts from which he builds complex mental maps that give structure to all his projects. This fractal network made up of an infinite number of nodules and ramifications, of analysis, convergences and superimpositions, forms the architecture on which the artist elaborates his works, taking his own experience as a starting point and trying to involve the spectator in the simultaneous searches that each piece proposes. His paintings interpose an elaborate geometric plot of homogeneous colours that mix acrylic and enamel on surfaces such as canvas or aluminium, distorting pre-existing images in order to generate a perceptive doubt in the spectator. His sculptures contain a voluntary sobriety and a certain minimalism caused by objects made for other uses from which many of them come, an attention that focuses on aeronautics but does not exclude any other industrial production. A formal asepsis that puts us behind a new clue, the one that suggests that the impact of the piece, and its drive, must be implicit in other questions, in factors more or less hidden, in those not so evident ideas that mark the oscillation of intensity and emotion of each of his projects.