The Magnolia series is comprised of nine dipthycs. The systhematisation of the theme according to a serialisation process provides a normative character with similarities to a file, a herbarium, in order to explore semiotic correspondences through transition, consistency and implication dynamics.
The identification and enhancement of certain characteristics related to plant species in their seed mutation phases is associated with semantic and procedural graphic actions. The rhythmic change in a dense line intensifies a tense gesture, much as the water-like fluidity of a moment as it goes away. Every gesture seeks to match graphic action with the spatial and symbolic improvisation that sustains it. The physical body is seen as a medium in handling Chinese brushes, graphic feathers and watercolour pigments.