From a technical point of view, Barnils decided to maintain his relation of intimacy, both antagonistic and erotic, with the material, distrusting the conventional pellicular nature of canvas and contaminating himself lavishly with the asperity of panel and cardboard, and with the non - abstract nudity of the sheet. he works on them with encaustic, marking the cleaness of the wide surface with strong gestures, or contaminating materials,...

At the level of the nature of the image, as that of technical choices, Barnils allows himself maximum freedom, faithful only to the unwinding thread of a fantastic pondering from which there emerge fable - like humours, and at the same time symbolic roots which arrange themselves into developing fabulae, into récits of zestful,fractured poetry.

The literary and symbolic support is, however, only the trigger of the inventive process of Barnils, who translates its impulses into movements of  his own synthtic and irregular vision. Repeated in it is the cross between a closed structural cage, sometimes multiplied in interlinking visual cells, inhabited by visual organic lumps tapered into spring- like geometries, which gradually opens out in centrifugal movements, increasingly articulated by means of twisted figures of flight, movement, ascent, and by dense signs blinded by a graphic rage that touches the frequencies of original ideographs.

It is clear, however, that the artist's technical choices include a program of strong visual assertivness, of sensitive positivness that is triggered by acondition of interpretation which of which amterial consistency and variety are an important part.