In the series of paintings entitled The Palace, the artist takes a single wax mold and activates it as a matrix and file. Each drawing, including the accidents resulting from the application of the strappo, affects the surface of the mold and affects the initial drawing, but without erasing it. Thus a consecutive series of works emerges in which we will always be able to notice, confusingly and mysteriously, what is the foundation of the image. Each work of El Palacio emerges from a visual and material presentiment of the past - the painted, the extracted, the imagined. It is not the form that is preserved, but the trace; and the zero point of the image is tinged with mysticism. In doing so, the artist turns the gesture into a fossil: each image contains the echo of a myriad of preceding images that continue to act, sometimes visibly.