The aesthetic approach in Fernando Varela's work immerses us in a complex network of signs and symbols, which are not only expressions but also responses to a variety of stimuli, which, in his case, he recognizes, guides, and expresses through his works. These semiotic and semantic complexities have been evident in the various series he has published in recent years.

Suddenly, a heart, a brain, or a tongue—presented on the surface of the support, or constructed formally and gradually from minimal elements that mutate until they become the referenced object—speak to us of reason, senses, and emotions; composing a conceptual corpus difficult to decipher, for their language exists and goes beyond the language of words. It concerns what we see and know, and what we know but don't see. Is it a treatise on semiotics or a spiritual quest? Self-portrait or mirror painting? Hermeticism or spiritual alchemy?

Between the figurative and the conceptual, there is a constant investigation into the essential and inexhaustible meaning of life.