This is an interesting example of the period of maturity of this interesting painter and sculptor from Valencia.

While his early work was within the boundaries of expressionist figuration, influenced by his exile in France during Franco’s regime, from the 1950s onwards he evolved towards a more theoretically grounded practice. In 1957 he joined the Parpalló group (1956-61), which introduced Informalismo in the region of Valencia. At the end of the fifties he began to focus more on sculpture, creating compositions on highly material supports and surfaces, using burnt and splintered wood and sheets of iron. The artist’s pretension, as he admits, was to make “living polyvalent works of art with an inbuilt possibility to change”.

The use of materials like wood, iron, copper and brass filings, as well as incorporating volume and matter, were to become constants in his practice. That is the case of this work, in which the artist superimposes rusted metals on a weft that has been altered with rips and skilfully balanced by contrasting masses with empty spaces. These discordances allow light to filter through the weft, although it is intentionally interrupted by the fragments of metal.