"I probably start much like a musician does, by playing two or three notes and then fifteen, twenty or fifty, in other words, by drawing a first line, a first stroke, and then many more", Joaquim Chancho once explained on the subject of his work process. The exploration of lines, rhythm, presence, and emptiness are the axes along which his works, halfway between geometric abstraction and gesture, move. Ever since the seventies, he has consistently produced a body of work that can be understood as persistent meditative geometry. The apparent simplicity of his works belies a process of subtle and highly accurate construction. His Paral·leles, with which he began his series of linear transformations and successive sequences, are a sample of his early works. Rather than dots, he uses rectangular surfaces with different gradients of grey, black, white, and blue that outline the notion of parallelism and creating a dialogue between notions such as sequence, balance, chromatic gradients, composition and harmony. Faithfulness to art as a form of exploration is at stake.