with other landscape thematic during those years. From 1981 he decided to bring to a close this thematic (although Las Palmas would be his "muse" for the last time in 1991), stating: During the 1980s and early 90s he continued to participate in various individual and collective exhibitions, in several cultural centers and galleries of Gran Canaria, Tenerife and Fuerteventura. In 1985 he became a member of the newly founded "Asociación Canaria de Acuarelistas" (Canarian Association of Watercolorists), also taking part in their expositions. Last phase: 1982-1992 In the last stage of his artistic career he broke with the illustrative and tried non-traditional compositions, he became more sober in colour and blend tonalities looking for a wider range of colours. This synthetic and suggestive line though not new, it is at this stage of creative maturity when it get a creative peak. As he stressed at the time: In September 1991, which would be the last exhibition held during his lifetime, presented a trilogy called: "La Vieja Ciudad" (The Old Town), "Rincones Isleños" (Island Spots) and "Espacios Abiertos" (Open Spaces). Regarding the first, the watercolorist recovered again the subject Las Palmas old quarter, but dealt with a renewed technique with an agile and vigorous brushwork, more decision in drawing and a greater chromaticism in his palette, highlighting he was a painter whose artistic expression was always in constant evolution and searching new ways of expression. What characterizes and defines the pictorial production of Comas is a constant interest in both the traditional architecture and natural landscapes of the coasts, midlands and highlands of Gran Canaria, seascapes, houses with tile roof, patios and balconies, and so on. Likewise, he also painted many of the most representative places of the island of Tenerife, as well as some of Fuerteventura. The style of the watercolorist is completely identifiable, from the colour to the atmosphere, -that extraordinary use, but without exceeding, of the sfumato- everything has an emphasis in the area of the card: line and perspective, differentiation of plans, wash fluency, etc. There is a constant preference to reproduce certain effects and atmospheric elements that give many of his paintings a distinctive feature; fog, skies of various coloured clouds, water reflections, puddles, rainy days, etc. Seascapes where the form becomes evanescent, treatments of blue, white and golden exquisites which remind of one of the great masters of watercolour of all times, of Turner.