In the early sixties he enrolled in the School of Arts And Crafts of Seville, attending three courses of artistic drawing, where he achieved very good results. Then as a copyist he attended the Provincial Museum of Seville, having been directed by the famous Alfonso Grosso, and there he made copies of Murillo, Zurbarán, VirgilioMartoni, Villegas, Gomez Gil and many other and varied artists that contributed to nourish his artistic training.
With this basis, he tended towards a realistic and bright artistic style, finding his own clients through auctions and other sales channels.
In 1985 he exhibited for the first time in Sevilla in the Sadartys gallery living in later years in Leon, Palma de Mallorca and Madrid Duran room several times. He also participated in various art fairs and international events.
Currently his works are spread all over several countries in Europe, America and Asia.
Painting is basically a tribute to light. There is no light without painting. The darkness is the negation of color. In this regard the pursuit of southern light has always been a longing for painters. The contrasts of colors created by the daylight streaming in ascending and descending scales from sunrise to sunset.A range of colors and a fleeting, but timeless, development of light and shadow. There is were the painting is born. But CHIA, with that undeniable virtuosity for capturing the color of an illuminated landscape, does not conform to the impersonal mimetic reproduction of it. For he considers nature amounts to nothing without human presence.A human presence that the painter seeks not in a fictional situation, but in a real and primal communion between nature and humans.
CHIAS paintings are made with an illuminating sense of color. Gold, white and carmine are his favorite colors, which best serve him to craft his compositions, always carried out by the proper disposition of the points of light, essentially.
However, few have been the critics who have seen -and this is one of his most indisputable successes- the compositional importance of shadows as markers of a figure or revitalizers of a landscape, such as a plastic projection of an image that without their presence would acquire a plain tone. CHIAS does not impose shadows, but he suggests them as a way of painting, as a matting component, raised as an indirect formulation.
CHIAS makes Morocco and Andalusia share lights of both sea and deserts, a world in which the warm sensations are the clear manifestation of a kind of well crafted painting, geared towards the contemplation of beauty.