Nature is a habitual presence in Michelangelo's work and humor, tenderness and often_cc781905-5cde-3194-bb3b-136bad5cf58d criticize the element disturbing of the bucolic: human action, which due to its destructive capacity makes us harbor doubts about whether it is appropriate that we speak of culture and civilization to refer (sometimes) to the fruit of our hands; he goes so far as to speak of extortion towards animals that, through progress, we may have mistaken for objects.

Miguel Ángel makes us think to what extent contemporary times have consolidated our distancing from the natural landscape, not only as an environment in which to live, but as an indisputable origin; the consideration that the human forms a universe apart from a nature that we no longer consider picturesque, more or less attractive, but in any case distant. So much so that we hardly know what is true in it anymore, perhaps that is why the man from Madrid speaks of his works as de a cartography of paradoxical images and at the same time visual traps where a game is established with that line of ambiguity between what we know and what we do not know, between what is real and what only seems. And despite their ambiguity and grotesque side, we find them precious. They make up a very particular cosmos of their own, a spear against the tendency to homogenize.