Since he started out as an artist, Oswaldo Vigas has thought about abstractions, rather than images as such. These abstractions do not seek aesthetic justifications beyond themselves. Rather, they are self-contained artistic expressions that dialogue with artistic and historical concepts in tune with explicitly aesthetic concerns which —when considered from the formalist critical approach that is so condemned today— situate his work as a unique expressive, representative and organic form of visual writing. In this sense, Vigas’ work cannot be reduced to a simple schema of abstraction. It is much more complex than that, since it has developed in line with multiple factors: instinctive perception, knowledge of the rules of painting, and in response to the context the artist’s practice exists within.