WORK

His sculptural work, which began in 1982 as a fruitful work in solitude, led him to the creation of more than eight hundred stone sculptures. Also, the investigation of different materials, and his avid passion for reading led him to explore various types of sculptural languages, which might at first glance appear unconnected or give a false impression of permanent change, but reveal a subtle but decisive and energetic line that weaves the entire sculptural speech together: THE SEMIOTICS, the sign of things; the result of expressing ideas and feelings in ways as simple and clean as possible, like viewing different levels of the same “reality”, but always striving to express it in the most elemental, brief, pure or naked form it can reach.

Within this semiotic, these signs, we identify the graphisms that took form in 2001 and ended up becoming a true sculptural language. Signs that remind us of primitive languages: Egyptian demotic, Scandinavian runes; works that whisper of distant times and cultures, like old signs engraved on stones in a kind of written sculpture that turns us back to archaeological remains, to tenacious paleographies that are mere spectators in the affairs of men. To realize it, he used both granite and basalt, but specially and alabaster.

We could likewise fit in this weave his last course of action, the “Deconstruction”, in which he worked especially since 2003 and that developed by rereading the late Jacques Derrida and deepening his making and remaking, his deconstruction of thought…

With that “Deconstruction” he tries to express a renewed way of seeing the world; to deliver a fresh new look, redo life over and over … to dismantle it to find other forms of expression, so that even if it always remains the same, it always arises as something new. To achieve this form of expression, he would use stones or boulders of different sizes and obtained from very different places, but always being porphyry or magmatic materials and thus of high hardness. He fractures, cleaves or dismembers, works and manipulates, breakes or tears appart with the purpose of finally re-joining some or all of its components, always in a way different than the original, producing mutations or transformations, results that always surprise me when I see that the original unit can change, take a different shape and produce something so special and different – something that while having been a closed form, apparently complete and finished in itself, suddenly appears re-opened and delivering possibilities of transformation, of change, of infinite doubt.