This represents a change-of-pace in the conceptual levels of Cano’s painterly style. His full-brushwork method of handling the acrylic media remains in place, while most other factors are allowed to change course – albeit in a consistent manner. It stems from an experimental mind-set that here departs from rich ‘color combines’
principally because “I was drawn to black and white and of course gray”, being as “this was a logical departure from the vibrant color of my recent paintings”. What distinguishes these points is their sense of orderly progression toward minimalist austerity, with certain qualifications, i.e. “The shapes are very natural, interpretive, amalgamated and exotic”. So much subtlety of design variations in the mobility of pigment offers a lively spirit, while the graduated progression of white-gray-black defines the central space – laid out in harmony with a stark Italian shadow-frame.