Unhappy with the rigid constraints imposed by the academic approach to learning art, Feliciano dropped out and embraced the practice of sculpture full time. Nevertheless, his creative process has always been driven by the force of formal experimentation.
 
In his early stages he lent great importance to iron, to the extent that it almost became an obsession for him. Fire is given a major role to play in his work with iron, and the artist works and casts this primeval element as if it were clay, modelling and altering its form while the incandescence material still permits it.
 
After some initial experiments with iron sheets, which he learned to work with in the metal workshops of Navalcarnero, he began to build organic, geologic objects that seemed to come out of a stone pedestal, with cracks and crevices providing a glimpse of the space lying behind the work, thus eliciting a dialogue between iron and space.
 
In the late sixties, Feliciano’s sculpture evolved towards a clear-cut , and in the seventies he started to remove the texture, oxide and visual material quality from his works, which, up until then, had deliberately displayed the traces from the cutting and working of the welding torch. He was seduced by the smooth, flat, shiny and brightly polished surfaces of strictly geometric volumes. Reducing chromed iron to colour turns it into a true chromatic expression, allowing light and its reflections to endow the work with new nuances.
 
In 1972 the sculptor concluded that it was the material itself that should help him to find the result he was looking for, yet at once never condition his output, which is why the raw material he works with is a fundamental part of the creation itself.
 
As in the case of this stainless steel Mural from 1974, the small fragments of metal are charged with tension and visual power, where the space existing between the geometrical shaped volumes produces the desired effect.
 
His works are built from assemblages of quadrangle and cylindrical geometric modules. The prismatic, solid and compact modules are perforated by circles, an action that produces voids. The single pieces form more or less random groups following the artist’s will. The work is integrated onto the wall, thus freeing it from any interaction with the floor. It was around this time that Feliciano renounced the pedestal and suspended his sculptures from cables or from a surface, thus revealing the tensions inherent in the mass.