Through a vast diversity of mediums and explorations, Arnol Diaz proposes a relational art that integrates multiple spheres of life in a manner that includes the participation of others, or the sense of co-creation, in the development of practices related to social imaginaries integrated with the caretaking of the Earth. 
One of his greatest influences, pioneer conceptualist Joseph Kosuth, argued that, instead of questioning its nature, to continue painting was to accept the background of traditional art. This constituted for Kosuth the primordial role of the artist. Diaz disobeys the man and insists in painting portraits or figurative scenes, that at a first glance evoke the sensation of what has already been seen, even in the recurrent beauty of a postcard, or eventually in the images found in magazines. His pictorial aesthetics, however, is simple appearance, whilst the problem he proposed transcends the iconic.
In fact, what really matters in this kind of painting is not the scene, nor the faces that we see, but the pictorial process of construction in a painting that postulates itself as a practice opposed to the material wasteland of western culture; in other words, a gesture of sustainability which consists in using in the painting the residues of the palette, recovering even the dry paint. The strange mirror where the portrayed woman contemplates herself, for instance, is the same palette that the painter used to create the painting. The gesture of attaching the tool to the canvass works on two levels: it is spectacular, self-reflective, in so far as it inserts the object used in the pictorial creation, and it is a declaration of the maximum harnessing of resources, a saving that stands in stark contrast to the wastefulness that prevails in the planet’s hegemonic locations.