Exterior de la casa en Premià de Dalt

Many years ago (I think it was around 1974) I was given my star chart and it said that I was a capital A artist, which I was told meant that my “art” was beyond material and that in any case the adequate way to materialize this talent was through volume and so using clay as the material and sculpture as artistic discipline. As a matter of fact, a little bird must have whispered the clairvoyant some information because at that time I was making sculptures. However, I cannot deny that I was full of satisfaction when I was told that and with the fact that, in theory, it appeared in my star chart.

By chance, I started working as a model for a sculptor, Josep Viladomat. During work hours we kept long conversations about art, the bohemia in the Barcelona of the 30’s, about the Paral·lel and the Ramblas (boulevards in Barcelona well known for its artistic venues), about clay, drawing and sculpture. Viladomat began teaching me the profession: the modelling of the clay, mainly, and also the proportions, the inlay and joining, the moulds, etc. We would talk about reference sculptors: Maillol, Rodin, Casanova, Rebull, Monjo, Hugué, Gargallo, and González and about the brilliant Michelangelo. We never went further the classical figurative models. In his opinion, Moore, Brancusi, Giacometti or Chillida did not make sculptures. They made forms.

I have been a sculptor for more than twenty-five years now. After all this time the profession shows. People learn and, essentially, people learn from mistakes. I found out that the small format allows one to explore and evolve without excessive anguish, to try new forms and shapes and check if they are liked.



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 Hall)
1993, Llavaneres, Seu social del Club Nàutic Balís (Balis Nautical Club’s Social Office)
1994, Galeria Tretze, Banyoles (Art Gallery)
2001, Galeria 37, Barcelona (Art Gallery)

Collective 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 Barcelona)
Galeria 37, Barcelona (Art Gallery)
Galeria Montfalcon, Barcelona (Art Gallery)
Galeria Espai d’Art, Mataró (Art Gallery)
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 Ventos
Trophy for the Ramon Llull Award of Planeta publishing house
Trophy letter N for the Novel Award of Planeta publishing house
Trophy for the Curtficcions Cinema Awards
Commemorative Figure for the 25th Anniversary of the company TAU-Icesa
Woman Sculpture for the Cornella City Council



The Sculpture:

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.

The materials

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.

A 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.

The 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 1,300C and this process always has a magic and unforeseeable something.

Besides, 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 shape

The sculptors usually keep in mind that our drawings need to be translatable into three dimensions.

My 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 proportions.

The 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.

Both 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 work

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 fulfils me.








Taller en Premià de Dalt