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THE SCULPTURE

In 1992, visiting the Universal Exhibition in Seville, I entered a pavilion that brought together several African states belonging to what was called French West Africa, and I suddenly experienced a particular Stendhal syndrome. The reason was: the presence of a woman.

As a result of that aesthetic experience — of a beauty so unbearable — my gaze was immediately withdrawn, my eyes following the ground and left, hurriedly leaving the pavilion. The feeling I got at the moment I found his image was that of an electrocution.

The rest of the day was disturbed, ruined...

That same year I undertook an initiatory journey through Burkina Faso, Ghana, and the Ivory Coast. Childish, useless and mystical, I was looking for fate to show it to me again.

The search for the aesthetic experience based on the morphology of the body of human beings in general and of women in particular, could well have been put together and made me aware of this episode.

Corporeality as a reflection of attitudes and states of mind or the recreation of classic myths from a contemporary vision, the common thread of my work, a work that seeks to show the communion between the reality that is manifested through forms and that which is sublimated from the mood, from the emotional nature of the individual expressed through the action, posture, gestures of the body.

The evocation of the classic is also present in many of the works. The idea of ​​ruin, through the broken material, of the oxidation and patina of the metal, as a witness to the passage of time, but which paradoxically also transmits an idea of ​​eternity.

In bronze, stoneware and sometimes wood or iron, traditional materials but at the same time endowed with nobility are the raw material in which most of the work is carried out.

THE IMAGE

I think that, since I have the use of reason, I have had a very powerful internal engine, a kind of attraction to images, figures, shapes, objects and their morphology that in many occasions mutated in vivid interest and in some cases it became a fascination. A final stage, much more exceptional, led me to fix this affection on a few things, as if they were authentic "fetishes". This gave me an interest in a particular species of plant, my sister's Barbie, a diesel locomotive, an extinct animal, the figure of an indigenous person, the camouflage of a military plane, an abandoned building or the image of a black woman. ... this is the case with all kinds of elements.

It is plain and simple a fascination with the images that have always accompanied me, in the same way that a dog cannot avoid sniffing everything that is endowed with odor. I have lived and live by and for images.

It is this attraction that has led me to try to retain, through representation, the moment, the labile and ephemeral instant in which the images live just before inexorably disappearing in a world in continuous movement.

But it is not only this, I also believe in the language that is hidden inside the arte-facto, in its profound truth, that in some works springs spontaneously and becomes visible to everyone who contemplates them, and in others it is hidden , it becomes elusive, allowing itself to be seen only from a precise angle, with a certain light or manifesting itself only to some of the people who observe them.

This path in pursuit of images has been long, intense and fruitful, but at the same time it has been diffuse, slow and committed. And it has had different stages: painting, graphic work, drawing and photography have involved experiences, encounters, ways to deepen the apprehension of forms, different paths that have finally led me to figurative sculpture, at the time that the two dimensions of the plane are insufficient.