The plastic works that Pedro Peña Gil has made in recent years are a return to the attitude of those explorers who wanted to extract the qualities of light. Although, in his case, adding the element that best presents it: colour. The experimentation of these works, like the first photographers, leads him to take the images of the world as a metaphor for the anonymous Petri dishes. Once these spaces have been located and portrayed, the files are digitally manipulated to extract from them the masses that suggest the places where the colour is to be cultivated. Once the image has been printed on different physical supports such as wood, metal or even methacrylate, the diluted colours are incorporated using different techniques to fill the gaps left by the dark masses. In the same gaps left by the light, watery forms of colour are presented, evoking one of the peculiarities of light, to present itself in one or another chromatic form depending on the material that receives it. In this case, the choice already determines the colours for each specific experiment. Some cases are in monochrome and others in a rich palette of vivid colours. Colours that move across the surface in a clear suggestion of evoking the perpetual movement of light, since it, no matter how hard we try, can never be frozen in time.