Historically, the construction process of a painting, in general, has had as a methodology the superimposition of pictorial layers, beyond aesthetic intentions or thematic differences, this technical principle has constituted a practically obligatory condition for the realization of a painting. One color, another, another... in search of the desired shade. Color, how to find it and how to apply it, has been one of the fundamental interests of painters throughout history. In the series Overcrowding, this fact, at times merely technical, becomes content, his works propose abstract pictorial places, executed through an almost obsessive superimposition of fragmented brushstrokes, where a micro-aesthetic criterion is superimposed on another, causing a desaturation of color, almost suspicious. In this case the pictorial process is understood as a symbolic event. The result: an absolutely fragmented “monolithic” skein, which establishes struggles between light and shadow, the individual and the collective, purity and promiscuity.