Under the heading of lyrical abstraction, Mompó created a universe that one could say was happy. Gente en el campo is above all a large sensitive living space, from which elements emerge that in some cases can ambiguously be interpreted as beings and things from the real world. These elements, cheerful and carefree, either stand out slightly from those very light-coloured spaces or are still immersed in them.
The compartmentalisation of the space, with the inclusion of the small forms and lines in the different pigeonholes, is unusual in Mompó’s work. The most we have been able to find has been some divisions created by the partition of some vertical lines in the canvas Sin título, in 1965. Nonetheless, in other cases, the bodies and corpuscles are distributed within the space as if this underlying arrangement did in fact exist. Either way, there is no rigidity whatsoever, and nothing that constrains the sensation of lightness and freedom.