He moved away from graffiti to start working with faces, many of them political figures with whom he experimented and played with their symbolic charge in the street, and from which spurts of life and colour emanated, while his studio work was filled with flesh and female and male bodies. In his “Still Lifes”, with which he has been working for the last few years, Nicolás has found another way of using the image as a form of social reflection. “I realised that through objects and symbols I could say many more things,” he says. Kittens, poodles, drones, aubergines, figs, flowers, classic works of art, contemporary icons and other elements that he finds in the immediate territory where he makes his mural interventions are intermingled in his chaotic and surreal still lifes.