His work is imbued with a subtle sense of humor, irreverence for societal foibles and skepticism toward established religious beliefs. While the snake is curled around a tree and a bird and dog-like creature looks on, there is no tempting Eve, and apples are nowhere to be found, either. While Trujillo disavows religion, he taken pains to point out that he is driven by a deep sense of spirituality. A former architect, he went to Spain to study painting, ceramics and landscaping. By his own account, the only aspect of his early architectural schooling that remains is his near obsessive need to draw and the amounts of drawings he still produces at age 74.
Drawing is the foundation of art.
The painting, subtle in palette, becomes compelling through its variety of brushstrokes. In the hands of a lesser painter, such near monochromatic but diverse brushwork might become an indecipherable hodgepodge. But Trujillo shows in his entire body of shown work that he is a master at uniting individual marks into a cogent visual language. While he says that he has lost his architectural vision, he carries an architect's sensibility into his paintings. At first glance they seem flat, meaning lacking depth and linear perspective.