Villalobos' large, architectonic works feature solid forms that also appear evanescent, and areas of mass that are acted upon by a lively line or by drips of pigment.
Jose Villalobos´s work has undergone a subtle transformation over the last few years. His paintings maintain the two major features that allow for immediate recognition of his language: a spatial composition underpinned by a system of relationships expressed as a dynamic tension of architectonic precision, and a palette suggesting continuous dialogue between warm and cool tones.
The infinite space evoked in earlier paintings, has changed in current work in that the system of relations has been simplified or synthesized as distinct spaces: while the first planes of recent work feature vibrant, vertical arrays of colors, the second planes frequently hint at a horizon slightly out of reach. In contrast, the notion of dialogue between tones has expanded in order to include the notion of reflection: as in introspection perhaps, but more decidedly in the effect that light has on color, as brightness or as shadow.
Villalobos states that he aspires to expand his language in order to express not only what he sees but to capture sensation in the creation of an atmosphere that is in continuous transformation due to the effects of the proximity and distance of one element and another. The drop technique allows him to fulfill this intention as he follows the principle of subtle variation in creating abstract landscapes in small and large format.