Artist’s Statement
In my first pieces of sculpture I recognize to be indebted to Brancusi, with its oval marble forms. Nevertheless my forms did not have a reference to human heads, or to the origin of the life, but its concept, as abstract forms, was the attention to on the attrition and the hollowness of the subject as attempts to explore the interior of closed and pure form. The best way of understanding its aesthetic pleasure was not only feeling the form but carving it in marble.
Ten years later I dropped the ovoid forms and the marble as material, and began to work with steel. My interest in metal was completed ten years later, taken by the curiosity between architecture and its relation with sculpture, a subject that was brought up on a doctorate’s course that I taught at University.
In my metal works during the beginning of the 90´s, I used welded steel as means to investigate the language of the rationalist forms of architecture and the scale of architecture taken to the sculpture of geometric forms, hence the result of the pieces became architectonic metaphors. When working with the scale of sculpture and moving from an intimate dimension to a monumental one, I began to ask myself about the context where the piece had been placed because of its dimension, to the street, competing with its surroundings, and also then creating ephemeral installations. My abstract, present images, of oval forms, gather Brancusi’s influence from a post-minimalist view and deals with the same concept in several media (painting, sculpture, and drawing). This variety of languages makes the objects relate to each other and to gain different experiences from that dialogue enriching them into a wider range of associations.
