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My beginnings are so typical of so many artists in my generation, where art schools were not abundant and, those that were, did not respond to the concerns of the moment; rather, they were asleep in a neoclassical dream. It also coincides with a very special time: my adolescence corresponds to the concerns of 68, which means that the spirit of vindication and search, of which religious authorities did not approve. Apart from socio-political events, all European societies sought new references in practically all disciplines.​

It was the time of the popularization of psychoanalysis, the great emergence of art books and artists, anarchism, and an enormous desire to seek, as well as new forms of relationships in families. It was the age of hippies, the questioning of religion. I think it was the time when it was normal to be born artistic, and self-taught. My first works reflect an interest in expressionism, surrealism, the fascination with psychoanalysis and, of course, given the youth, an explosive sexual interest.​

In addition, my way of dedicating myself to art compared with my studies was like the expression of certain concerns. As a way of finding a certain identity, and not for a moment, it occurred to me that this could become a way of life. And not because I did not see it in others, but because the road was so arduous and so unknown. However, it is true - and I am not the only case - that once this path has begun, it makes you immune to any other alternative.

For me, art is, above all, a communication system. It allows expressing personal feelings that can easily become collective. I want to use it above all to investigate emotions or nuances that cannot easily be reduced to rational language. It is probably the most ancient system of expression and the one that has the most elements of that primal language for which we have always longed for.
I use the artistic manifestation with a certain psychoanalytic influence. I begin by manipulating the material, and a series of experiences and emotional states drift towards certain forms. There is a symbiosis between manual skill and the subconscious, and forms emerge that are the embodiment of our experiences. This allows an unusual and not always comfortable personal discovery.
Sometimes these personal approaches have a great power of suggestion and are adopted collectively. It is the great miracle and what consecrates the artist as a shaman of his community.

Work Evolution

My first works were of painting. We could consider it as a laboratory, where I was getting enough security in my work, which prepared my introduction to sculpture. This time was very important because of my interest in making characters very clear in form, and this interest facilitated my transition to sculpture. Initially, the theme was influenced by expressionism and creating images that were easy to digest within a certain surrealist vision.

This period lasted relatively short. Then, the economic needs and the desire for independence led me to accept jobs in the cadaster. This puts me in touch with the rural world in a more intense way than I knew. It was the encounter with nature that seemed new to me. Moreover, I became more familiar with the Romanesque and Baroque style, where I appreciated in many years later when I was in Mexico.

This new influence led me to a radical change of work. I began to create characters as if they had come from the earth, created collective scenes that I owed much to popular culture. It coincided that in my city, this type of art had very outstanding figures. For me, this makes me think of Arturo Baltar. Over the years, this artist - in the sense of Naïf - produced altarpieces and small installations with an unparalleled poetic character.

70s

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These works, from the year 74, are a good example of my first works. The interest for the resounding forms developed later throughout my work.

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80's

My artistic interest was evolving toward visions much more realistic and devoid of any element that I considered literary. I focused on the learning of the anatomy, to the point of getting to create works that seemed to me like torsion machines, where the muscles had to manifest the tension, the torsion, or any other of the possibilities of this muscle movement, where it it was very evident where the first movement had started and its sequences thereafter. All these without diminishing the interest in facial expressions as a motor of understanding the whole work.

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90s

Some of these works are installed in public spaces, where they fit well in our environment because their geological aspect evokes our rounded mountains, full of protruding rocks and transmit a feeling between soft and powerful.

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2000s

I began to make a type of work of obvious biographical projection. They were paternity, where a young and muscular man protected or cared for an infant. They were works of strong emotional impact, of which there are some examples in public spaces.

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There were times that I was very tempted to create works with architectural aspects. Also, beyond the anecdotal aspects, I consider the volumes, lines, and the perfect finish. The scale was always monumental. The small work was always a beginning that aspired to that bigger dimension. I alternated the interest in polychromy - with the singularizing characteristic that it has - with the uniform color, which underlines the form. In other words, polychromatic works in resins, with works in bronze.

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In this time, my interest lies in placing emphasis on the subconscious or on what is most accessible to it: dreams, delirious images and, in general, all that content that can skip rational control. The duality of feelings and ideas is habitual, perhaps in our very essence, since we possess two brains and, normally, do not go in unison, but usually express opposite feelings and positions.

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