In his early works from the fifties one can find plaster busts that came from his time under his master Angel Ferrant. His figurative proposals contain references to various historical styles, with an expressiveness that transcends the volume used to capture the object. Within the confines of anthropomorphic expression his “torsos” have a particular presence, transpositions of a truncated statue that appeal to but from a perspective that includes cognition of the passing of time and death. In this sense, it is worth underscoring the importance of the religious quality in his works.

His sculptures have a notable volumetric plenitude and his compositions are always underwritten by an architectural concept in an endless quest for balance that transcends geometry and physics, seeking order and mystery in the harmony of the cosmos.

His small format works, as in the case at hand, afforded him many advantages, addressing them as a way of rehearsing solutions that he would later apply in larger formats, and they also enabled him to play with different possible finishes. This multiple in bronze from the BBVA Collection is close in concept and in form to Agamenón, the work made by the artist in 1979 in Calatorao stone, and in fact it could well be a recreation of the latter in a smaller version.

In his work the void is in fact a kind of physical and symbolic place from which the actual sculpture arises. It is something that is latent in the bronze when it is created from the casting and, as such, the empty cast. The print of the hand, present in the textures of his earlier work, gave way to a smooth surface, in consonance with the mechanical origin of his constructive work.