As Cano’s paintings evolve, in creative and technical complexity, his methods for analyzing the spirit of an individual work are becoming more apparent. In this work he departs from more dynamic effects using quick brushwork, to explore deeper 3-dimensional accretions
of paint layers and acrylic skins. He has adopted a method (famously used by Titian, Venice’s premier colorist) of putting works-in-progress aside for some time before choosing the final/finished stage. As Cano recounted: “I added the black much later after pondering over it about three weeks”-introducing raised black surfaces and textures that extend underlying base colors (mainly reds and yellows) to explore blackness.