Making a sculpture is an act of creation; it is like playing God to create your own world with something as amorphous and earthly as mud. It is enjoyable to create something from nothing. It is through these new beings that I seek my own immortality. This is why I have chosen bronze as my definitive material, because thanks to its nobility and durability it will withstand the passage of time better, and perhaps I will live on for centuries.
All my work has been created naturally, sometimes impulsively, probably surging up from my subconscious. It emerges from my deepest feelings with a sole intention: to communicate. With whom or with what, I do not know. Perhaps with myself. It is like introspection, a psychoanalysis that brings to the surface my fears, my doubts, my past, all my inner world, often unknown and unfamiliar to me.
I constantly seek authenticity, and that is not easy, given that to do so you have to try to isolate yourself from everything surrounding you, and as that is impossible, I try to pass all the experiences and images of the outside world, the more the better, through my inner self, refashioning this reality and expressing it through sculpture.
I enjoy African sculpture and Egyptian art, but I identify with the expressiveness and romanticism of Rodin and the spirituality and austerity of Giacometti. I admire the monumentality of Henry Moore and I am attracted by the very personal sense of proportion that Manolo Hugué had. The perfection of Michelangelo’s sculpture had such an impact on me that I have never been able to cut myself off from my classical roots.
In my work, I try to amass the maximum possible elements and influences (from primitive sculpture through to the present day, not just from the West but also from the East) to bring together civilisations, cultures, eras and religions and try to represent the essence of human life. A clear example of this is the sculpture Dance of the Nymphs, which is a fusion of east and west, though trying to maintain an indigenous style. It is through this process that I try to make my art universal and understood by people of different nationalities, races, sexes and ages.
I choose figurative sculpture because I represent specific realities, though not necessarily in a realist way; in other words, not as they are but rather the way that I see them. For this reason, since completing my studies at the Faculty of Fine Arts, where we used models and did life drawings ad nausea, I have always modelled from memory to best achieve my ideas. My reality is not objective, but my work continues to be figurative.
It is very difficult to remove oneself from all the art represented by our ancestors and contemporaries. The problem is that originality is increasingly harder to achieve. The more you know and the more you see, the easier it is to fall into a reinterpretation of what has gone before, and the only thing that I occasionally manage is to say something again, but in my own way.
