January 1990. Caja de Ahorros de Antequera (Malaga)
(Savings Bank of Antequera)
August 1990. Arts i Lletres, Societat Cultural
Sant Jaume, Premià de Dalt (Arts and Letters,
Sant Jaume Cultural Society in the town of Premià
de Dalt, Barcelona)
1992, La Llotja del Blat, Vic (Exhibition Hall)
1993, Arts i Lletres, Premià de Dalt (Exhibition
1993, Llavaneres, Seu social del Club Nàutic
Balís (Balis Nautical Club’s Social
1994, Galeria Tretze, Banyoles (Art Gallery)
2001, Galeria 37º, Barcelona (Art Gallery)
and store work
Galeria Helena Ramos, Cadaqués (Helena
Ramos Art Gallery)
Sala Maragall, Barcelona (Exhibition Hall)
XI Bienal del Deporte en las Bellas Artes, Madrid
1995 (Biennial Show of Sport in Fine Arts in Madrid)
XII Bienal del Deporte en las Bellas Artes, Barcelona
1997 (Biennial Show of Sport in Fine Arts in Barcelona)
Botiga Fundació Miró (Shop of the
Fundació Miró - Art Museum in Barcelona)
Botiga Macba (Shop of the Macba - Art Museum in
Galeria 37º, Barcelona (Art Gallery)
Galeria Montfalcon, Barcelona (Art Gallery)
Galeria Espai d’Art, Mataró (Art
Galeria de Palau, Girona (Art Gallery)
Galeria Pasaje, Barcelona (Art Gallery)
Galeria Susanna Gibert, Terrassa (Art Gallery)
Some work on request
Sculpture for the Orquestra Simfònica del
Vallès (Vallès Symphony Orchestra)
Annual Company Present for Cespa for the years
between 1993 and 1998
Commemorative Figure for the perfumer Ernesto
Trophy for the Ramon Llull Award of Planeta publishing
Trophy letter N for the Novel Award of Planeta
Trophy for the Curtficcions Cinema Awards
Commemorative Figure for the 25th Anniversary
of the company TAU-Icesa
Woman Sculpture for the Cornella City Council
In general terms, we can distinguish two types
of sculpture. The first type would be the modelling
sculpture, which employs smooth materials such
as clay, wax or plasticine in order to create
a form that will later be reproduced in a more
stable material like bronze or stone, through
technical procedures. Usually, modelling sculpture
makes more use of capricious curves and volumes
because the material allows for it. The second
type would be the constructive sculpture, where
the plan to follow to do the work is obtained
from a drawing, in which the lines will always
adapt to the possibilities of the materials that
will be used. In this case, the artist works with
metals like iron and the shapes are mostly flat
and the curves are cut-shaped or regular.
Another way to classify would be based on the
topic, according to which there is figurative
and not figurative sculpture. In this classification
the limits are much more subtle for there can
also be the classical figurative type or figurative
approximations or distortions. At all events we
can differentiate between the organic and inorganic
modelling. I consider my work as a distortion
of the organic figurative.
If a mould has been done, bronze allows making
more than one reproduction of the same piece.
This is very convenient due to the lower costs
and the easier reach to people.
unique piece is usually considered to be a collection
of up to eight or ten pieces. Serial work means
an advantage over unique work because reproductions
can be done in a system similar to the one used
in lithographies or graphic artists engravings
and thus can better approach the work to the audience.
founding is done through the procedure of the
lost wax. Every small bronze comes from a wax
piece, resulted from the mould, which has been
individually founded. This fact adds to more uniqueness.
However it is very difficult, although the artist
and the founder are experienced professionals,
that all pieces are the same, since the metals
are heated under more than 1,300ºC and this process
always has a magic and unforeseeable something.
I also work with stone, which allows for mainly
two ways of working. The first one starts with
a previously created model, the forms and dimensions
of which will be transferred to the stone by chipping
it. The second one is completely based on improvisation
and finding out what comes out of the stone by
working on it without any planned objective.
The sculptors usually keep in mind that our drawings
need to be translatable into three dimensions.
favourite topic is the woman. Since the beginning
I have represented mostly women. A woman’s
body is full of curves and sweetness. I enjoy
modelling the personality of each part of the
body as if it was alive, as if it had a soul.
I like to describe feelings through sensual expressions.
About the procedure
Once you have the idea in your mind or the drawing
in front of you, the sculpture can be started.
Usually, the piece is built in small format. Starting
from a rigid structure which serves as a support
for the clay or wax. This is the skeleton of the
final piece and it is already fundamental to define
the desired gesture and to make it with the right
next step is modelling. This is done by adding
material until the planned volumes are achieved.
In the modelling technique it is always possible
to add or remove material.
clay and wax are ephemeral materials. One the
piece has been modelled, it is necessary to make
a mould for the later reproductions in bronze.
Serial and numbered work in small format is very
close and personal. It can be located in any place
and its presence is quiet. It is there, but discreetly,
like music in the background of films. Knowing
that there are people who have small sculptures
made by me that become a part of their universe