Paumar

Paumar's paintings are recognisable before you read the signature. With a long career behind him, the Valencian painter has built one of the most personal visual languages in the Cuadros Sils team: painting that does not imitate the passage of time, but creates it.

His surfaces look found rather than painted – eroded walls, rusted metal, render cracked by decades of sun and salt air. Paumar builds them up layer by layer in mixed media: crumpled papers worked into the canvas, rust glazes, crackle effects, mineral spatters. Over that aged skin he lays his unmistakable palette, where off-whites and earth tones sit alongside two accents that are almost his signature: the faded turquoise of the Mediterranean and the orange of rusted iron.

From that ground his subjects emerge. Sometimes pure abstraction: veiled sea horizons, layers of earth stacked like geological cross-sections, green fields scattered with light. And sometimes the figure, always with a silent face: anonymous busts outlined in a nervous white line, or his celebrated reinterpretation of the Lady of Elche, in which the quintessential Mediterranean icon dissolves into jewels of colour over a deliberately empty face, turned into a mirror for whoever looks at it.

That consistency makes Paumar a safe choice for interior design projects: his work has the warmth of things that seem to have a history, the elegance of a restrained palette and that rare ability to give soul to new spaces. It sits just as naturally in a Mediterranean home as in a hotel or a contract space with contemporary lines.

At heart, Paumar is after one thing only: for every painting to look as if it had always existed.