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En los años cincuenta solía pintar todos los lienzos por su parte posterior. Los untaba de ajo para que recibieran bien el óleo y los colores no se desbordaran recorriendo sin orden los caminos azarosos de las fibras. Al ser enmarcados y colgados, los cuadros anduvieron contando esa escena marginal al oído ciego de la pared.
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