For Gómez drawing is a way to cultivate his dreams, ideas and obsessions, integrating them into the material world through form. Yet it is a preliminary to sculpture. It is a different, autonomous way to create works, even though it has stylistic and thematic links with sculpture. Since the ’70s, Gómez’s great technical skill approaches the surface plane with detailed, chiaroscuros that create illusions and depict the transformation of geometric figures into volumes. In order to embrace the abstract, however, he limits the impression of depth, offering alternative metamorphoses of surfaces, even in pitch-dark black colours, which remain ambiguous. In the ’80s he develops his bone freaks, drawn mainly in ink, linking them with funereal architecture and furniture, with which it ends up fusing. Vegetable elements appear here, representing the persistence of life. Finally, he creates several clownish characters in the ’90s which have about them something of ancient drawings and much of refined caricature – the kind that, through humour, leads to critical thinking.