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CURRICULUM VITAE | Juan Bordes Caballero

 

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1948 Born in Las Palmas de Gran Canaria (Canary Islans, Spain).

1957-60 Studies sculpture at Escuela Luján Perez of Las Palmas with Abrahám Cárdenes.

1965 Admitted to the Escuela Técnica Superior de Arquitectura de Madrid (ETSAM).

Studies at Escuela de Cerámica Moncloa in Madrid.

“Drawing from life” at self-learning lessons at Circulo de Bellas Artes de Madrid.

1972 Finishes his studies in Architecture.

1976 Begins teaching at  ETSAM.

1986 PhD degree with his doctoral thesis: “Sculpture as an element of architectural composition: its rules in Italian, French and Spanish treatises”. Directed by Juan Navarro Baldeweg. Extraordinary Award for a doctoral thesis from the Universidad Politécnica de Madrid.

1988 Full professor in the Department of Architectural Composition at  ETSAM.

Member of the Real Academia Canaria de Bellas Artes de San Miguel Arcángel with the lesson: “They´ve always been there… (The classical sculpture at Museo del Prado in the light of modern sculpture)”.

2006 Member of the  Real Academia de Bellas Artes de San Fernando with the lesson: “The artist’s childhood or the sources of the Nile“.

2010-present Director of the Calcografía Nacional of the Real Academia de Bellas Artes de San Fernando.

2012-present Patron at the Real Academia Española en Rome

2015 Favorite son of the city of Las Palmas de Gran Canaria. Granted by the city council of Las Palmas de Gran Canaria.

Can de Plata to the professional career in the Arts field. Granted by Cabildo Insular de Gran Canaria.

 

GRANTS

 

1976 Grant recipient from the Fundación Juan March.

1979 Grant recipient from the Centro de Investigación de Nuevas Formas Expresivas (CINFE).

1987 Grant recipient from the Academia Española en Roma.

1992 Stay and patronage of project at the Centre International d’Art Contemporain Château Beychevelle (Bordeaux).

 

 

MONUMENTAL SCULPTURE (selection of urban and architectural interventions) 

 

2009 Solar Decathlon. Washington D.C.

2001 Olympics. (Architect E. Bordes). Las Palmas de Gran Canaria.

Equilibria. Juzgados de Telde (Architect F. Bordes). Gran Canaria.

Arucas. Gran Canaria.

Monumental gates of Presidencia de Gobierno. Santa Cruz de Tenerife. (Architects Artengo, Menis, Pastrana)

1998. Sculpture for the Museo de Ciencias Naturales. Santa Cruz de Tenerife.

LE-GA-NÉS. Leganés, Madrid.

1987-97 Sculptural intervention at the Auditorium Alfredo Kraus (Architect O. Tusquets). Las Palmas de Gran Canaria.

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1996 Five senses. Château Saint Selve. Bordeaux.

Seashells. Puerto del Rosario. Fuerteventura.

1995 Monument Al les Santpere (Architect O. Tusquets). Barcelona.

The Vitruvian man. Plaza de la Remonta. Madrid.

1994 The wall or equilibrium’s tale. Santa Cruz de Tenerife.

La palabra es t-o-d-o (the word is everything). Auditorium de la Institución Ferial de Canarias (Arquitecto. F. Bordes). Las Palmas de Gran Canaria.

1993 Five Muses. Endesa Building. Madrid.

The Muses. Plaza Auditorio (Architect Mariano Calle). Madrid

The justice. Chateaux Beychevelle. Bordeaux

Niños de la barra. Las Palmas de Gran Canaria.

1992 Monument to Juan Negrín. Las Palmas de Gran Canaria.

1992 Eight fountains in commemoration of the Olympics (Architect O. Tusquets). Barcelona.

1991 Oscar Tusquets.’ home-studio. Barcelona.

1990 Casa Tula (Architect O. Tusquets). Ibiza.

1989 The four elements. Casa Somosaguas (Architect. O. Tusquets). Madrid.

Palau de la Música. (Architect O. Tusquets). Barcelona.

1988 Mas Abelló Apartments.( Architect O. Tusquets). Reus.

1987 Parque Atlántico Apartments  (Architect F. Bordes). Las Palmas de Gran Canaria.

1985 Diana’s escape. Poblado mínimo de Vallecas. Madrid.

 

MUSEUMS AND COLLECTIONS (selection)

 

Artium, Vitoria.

Col.lecciò March. Art Espanyol Contemporani. Palma de Mallorca.

Centro Atlántico de Arte Moderno. Las Palmas de Gran Canaria

Museo de Arte Contemporáneo de Caracas. Venezuela.

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Museo de Arte Contemporáneo, Sevilla

Biblioteca Nacional de España. Madrid.

Colección Renfe. Madrid.

Colección Mapfre. Madrid.

Colección Fenosa.

Universidad de Valencia.

Colección de Arte Contemporáneo de Castilla-La Mancha.

Museo Popular de Arte Contemporáneo, Villafamés, Castellón.

Asociación Canaria de Amigos del Arte Contemporáneo, Santa Cruz de Tenerife.

Colegio de Arquitectos de Las Palmas de Gran Canaria.

 

INDIVIDUAL EXHIBITIONS (selection)

 

2011 Cara a Cara (Face to face). Academia Española en Roma

2010 Cara a Cara (Face to face). Palacio de los Serrano. Ávila.

2007 Auditorio (bocetos) (Auditorium (sketches)). Galería Manuel Ojeda, Las Palmas de Gran Canaria

2005 Deseos Londinenses de juventud. Esculturas recientes (London wishes of youth. Recent sculptures). Galería Raquel Ponce, Madrid.

2004 Corpus meum y El taller: Teatro de Operaciones (The atelier: theater of operations) . Centro de Fotografía y Palacio Fonseca Salamanca.

2003 El taller:Teatro de Operaciones (The atelier: theater of operations). Conde Duque (Caja Suiza) Madrid.

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1998 Fisonomías (Physiognomies). Galería Manuel Ojeda. Las Palmas de G.C.

1994 [Juan Bordes: sculptures]. Galerie Saint Séverin. Paris.

[Juan Bordes: sculptures]. Galerie Rachel Stella. Paris.

Heads . Kouros Gallery. New York.

1993 [Juan Bordes: sculptures]. Galería Manuel Ojeda. Las Palmas de G.C.

Imaginería pagana (Pagan imagery). Museo Barjola. Gijón.

1992 Juan Bordes: la figura 1980-1992 (Juan Bordes: the figure 1980-1992). La Regenta. Las Palmas de G.C.

Juan Bordes: la figura 1980-1992 (Juan Bordes: the figure 1980-1992). Castillo de San José. Arrecife. Lanzarote.

Juan Bordes: la figura 1980-1992 (Juan Bordes: the figure 1980-1992). Casa de la Cultura. S/C de Tenerife.

Restos mortales (Mortal remains). Galería Estampa. Madrid.

Restos mortales (Mortal remains). Galería Saro León. Las Palmas de G.C.

1991 El gimnasio o la sala de las estatuas y las bañistas (The gym or Room of statues and The bathers). Galería Estampa. Madrid.

1990 Cabezas muy españolas (Very Spanish heads). Galería Estampa. Madrid.

[Juan Bordes: sculptures and drawings). Kouros Gallery. New York.

1985 Comidas, bodegones y fotos de otras cosas de Juan Bordes (Food, still lives and pictures of other things by Juan     Bordes). Galería Magda Lázaro, Santa Cruz de Tenerife:

1984 La figura en la luz (The figure in the light). Galería Fernando Vijande. Madrid.

1981 [Juan Bordes: still lives (paintings)]. San Antonio Abad. Las Palmas de Gran Canaria.

1980 Homenaje a Néstor: Juan Bordes (Homage to Néstor: Juan Bordes). Galería Vegueta. Las Palmas de Gran Canaria.

[Juan Bordes: sculptures]. Galería Balos. Las Palmas de Gran Canaria.

1979 Juan Bordes: Dioses griegos: bronces y dibujos (Juan Bordes: Greek gods: bronzes and drawings). Madrid: Galería Bética.

1978 Juan Bordes: Skulptur, enero de 1978. Estocolmo: Spanska Statens Turistbyra.

1977 Juan Bordes: escultura y pintura (Juan Bordes: sculpture and painting). Galería Vandrés. Madrid.

[Juan Bordes: dibujos y esculturas ocluidas en plástico] (Juan Bordes: drawings and sculptures covered in plastic). Galería Seiquer. Madrid.

1976 [Juan Bordes: sculptures and paintings). Galería Vegueta, Las Palmas de Gran Canaria.

Retratos de Ingres (Portraits of Ingres). Galería Trazos Dos, Santander, Cantabria.

Retratos de Ingres (Portraits of Ingres). Galería Bética, Madrid. 

1975 Juan Bordes. Obra 1974-1975 (Juan Bordes: works 1974-1975). Galería Seiquer. Madrid.

Juan Bordes: esculturas y pinturas (Juan Bordes: sculptures and paintings). Diputación Provincial, Málaga.

1974 [Juan Bordes: sculptures]. Galería Conca, La Laguna, Tenerife.

Bordes-Gless. Obra Cultural de la Caja de Ahorros Provincial de San Fernando, Sevilla.

1973 [Juan Bordes: color pencil drawings and sculptures covered in plastic]. Galería Seiquer. Madrid.

Juan Bordes: dibujos (Juan Bordes: drawings). Galería Bética. Madrid 

1971 [Juan Bordes: sculptures]. Galería Seiquer. Madrid.

 

 

COLLECTIVE EXHIBITIONS (selection)

 

2017 Fernando Vijande: retrat: 1971-1987: Galería Vandrés 1971-1980: Galería Fernando Vijande 1981-1987. Fundación Suñol. Barcelona.

2003 Espacios y modos (Spaces and manners). Edificio Miller. Las Palmas de G. C.

2000 Escultura española del siglo XX (20th century Spanish sculpture). Fundación Central Hispano. Madrid

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1996 Fondos para una colección (Works for a collection). Centro Atlántico de Arte Contemporáneo. Las Palmas.

1993 From the Volcano. Twenty Century Artist’s From the Canaries. IBD, Cultural Center (Washington, D.C).

From the Volcano. Twenty Century Artist’s From the Canaries. The Spanish Institute. (Nueva York).

Desde el Volcán. Artistas Canarios del Siglo XX (From the Volcano: twenty century artist’s from the Canaries). Museo de Arte Contemporáneo Sofía Imber de Caracas, Venezuela.

1991 Artistas Plásticos de la Academia de Canarias. (Plastic artists from the Canarian Academy). Círculo de Bellas Artes. Sta. Cruz de Tenerife

Escultura Española Contemporánea (Spanish Contemporary Sculpture). Gallager Gallery. Dublín

1992 Drawings and sculpture by sculptors. Kouros Gallery. Nueva York.

La justice (The justice). Chateaux Beychevelle. Burdeos

1990 Arte Internacional en las Colecciones Canarias. (International Art in Canarian Collections). CAAM. Las Palmas de Gran Canaria

Kouros sculture center. Ridgefield. Connecticut

I Biennial Tanqueray of Visual Arts (itinerant)

El Museo Imaginado. Arte Canario 1930-1990 (The Imagined Museum. Canarian Art 1930-1990). Centro Atlántico de Arte Moderno (CAAM), Las Palmas de Gran Canaria

ARCO 90, Madrid (con la Galería Manuel Ojeda)

Arte Internacional de las Colecciones Canarias (International Art in Canarian collections). CAAM Las Palmas de Gran Canaria

Chicago International Art Fair 90, Kouros Gallery, Chicago

1989 Chicago International Art Fair, Kouros Gallery, Chicago

1988 Pabellón del Consejo Superior de Arquitectos (Pavilion of Consejo Superior de Arquitectos). Habilitaria 88. Madrid.

Fernando Vijande: History of a Spanish avant garde gallery. The Spanish Institute. N.Y.

Generación de los 80. Escultura. (80’s generation. Sculpture).. Palau Solleric. Palma de Mallorca

1987 Generación de los 80. Escultura. (80’s generation. Sculpture). Diputación Floral de Alava.

Artista Spagnoli nell’ Academia Spagnola (Spanish artists at Spanish Academy). Roma.

ACAAC. Los Lavaderos. Sta. Cruz de Tenerife.

1986 Contemporary Spanish Art. Winston-Salem. Carolina del Norte

IX Biennial of Pontevedra

VIII Biennial of Zamora

V Biennial of Oviedo

Arte Canario de los 80. El Taller. (Canarian Art of the 80’s. The atelier). Sta. Cruz de Tenerife

Artistas canarios en Madrid (Canarian Artists in Madrid). Casa de Colón. Las Palmas de Gran Canaria

ARCO 86, Madrid (with Galería Attiir, Galería Serie Diseño and Galería Estampa)

I Bienal Iberoamericana de Arte Seriado (I Iberoamerican biennial of serial art), Sevilla

Exposición conmemorativa del XX aniversario (Commerative exhibition for XXth anniversary), Galería Seiquer, Madrid

1985 Cinco Escultores (Five sculptors). Galería Miguel Marcos. Zaragoza

Panorama de la Escultura Española Actual. (Overview of Current Spanish sculpture) SGV. Madrid.

Atlántica 85. Casas de las Américas. La Habana

ARCO 85, Madrid (with Galería Fernando Vijande y la Galería Serie Diseño)

Chicago International Art Fair 85, Galería Fernando Vijande, Navy Pier, Chicago, EE.UU.

La escultura múltiple de Arco 85 (Multiple sculpture at Arco 1985), Galería Attiir, Las Palmas de Gran Canaria

Alguarín del Arte, Segovia

1984 Seis Escultores (Six sculptors). Palacio de Cristal. Madrid

Exposición del Proyecto del Auditórium (Exhibition of the Auditorium project) Palacio de Congresos. Las Palmas de Gran Canaria

VI Exposición Internacional de la Pequeña Escultura (VI International exhibition of small sculpture). Budapest

Escultura Canaria Contemporánea (1918-1978) (Canarian Contemporary Sculpture (1918-1978)). Excmo. Cabildo Insular de Gran Canaria

Panorámica del Arte Canario Contemporáneo (Overview of Canarian Contemporary Art)  (itinerant in Canary islands)

20 Esculturas en Libertad (20 free-range sculptures). Plaza de las Sirenas. Segovia.

Chicago International Art Fair 84, Chicago, EE.UU. (with Galería Vijande)

1983 Mosaico 83. Galería Fernando Vijande. Madrid.

ARCO 83, Madrid, (with Galería Vegueta)

1982 Joven Arte Canario (Young Canarian Art). ACAAC. Sta. Cruz de Tenerife

Los Lavaderos, Santa Cruz de Tenerife

Galería Ynguanzo, Madrid

1981 Arte Actual de Canarias (Current Art in the Canaries). Casa de Colón. Las Palmas de Gran Canaria

Arte Actual de Canarias (Current Art in the Canaries). Sala de Arte y Cultura. La Laguna. Tenerife.

Doce pintores (Twelve painters). Círculo XII. Sta. Cruz de Tenerife.

Patio de Los Naranjos. Las Palmas de Gran Canaria.

1980 Últimas tendencias del Arte en Canarias (Last trends of Canarian Art). CANTV. Caracas

Generación de los 70 (70’s generation). Galería Conca. La Laguna. Tenerife.

Círculo de Bellas Artes. Sta. Cruz. Tenerife.

Galería Bética, Madrid

1979 Colegio de Arquitectos de Santa Cruz de Tenerife

1978 IV Exposición de Becarios de Artes Plásticas (IV exhibition of Plastic Arts grant-holders). Fundación Juan March, Madrid

1976 Biennial de Alejandría.

Arte Canario (Canarian Art). Dirección General de Bellas Artes. Madrid

Gran Premio de Escultura 1976 (1976 Sculpture Award). Círculo de Bellas Artes. Madrid.

Asociación Canaria de Amigos del Arte Contemporáneo (Canarian Association of Contemporary Art friends). Palacio Spinola. Lanzarote.

Asociación Canaria de Amigos del Arte Contemporáneo (Canarian Association of Contemporary Art friends). Sta. Cruz de Tenerife.

Arte Expo, Barcelona

1975 Surrealismo (Surrealism). Galería Seiquer. Madrid

Biennial Hispano-Argentina of engravings. Mendoza.

Biennial of Zamora.

Basel Art Fair, Suiza

Salón del Grabado (Engraving Lounge), Dirección General de Bellas Artes, Madrid

1974 IV Bienal Internacional del Deporte (IV International Biennial of Sport). Palacio de Cristal. Madrid.

Panorama actual del dibujo (Current overview of drawing). Galería Elia. Madrid.

Óleos de pequeño formato (Small format of oil on canvas paintings). Galería Serie. Madrid.

Adolescencia (Adolescence). Galería Bética, Madrid

Múltiples (Multiples). Galería Serie, Madrid

1973 Biennial of Baracaldo, Vizcaya

1972  La Paloma (The dove). Galería Vandrés. Madrid.

1971  Arte y Eros (Art and Eros). Galería Vandrés. Madrid.

Maniquíes (Mannequins). Simposium IBM. Palacio de Congresos y Exposiciones. Madrid.

Galería Vandrés. Madrid.

Galería Bética, Madrid

 

CURATED EXHIBITIONS (selection)

 

2017 Fortuny y Fortuny: mirados en detalle (Fortuny and Fortuny: a close up in detail). Calcografía Nacional [22/09/2017 al 8/11/2017]

2016 Juguetes de Construcción: Escuela de la Arquitectura Moderna (Toys of construction: the school of Modern Architecture). Círculo de Bellas Artes. Madrid

Goya…Picasso”. National Art Museum of the Republic of Belarus. [21/12/2015 al 17/04/2016]

2015 Picasso: sus lecciones magistrales de arte gráfico (Picasso: his master lectures in graphical art). Calcografía Nacional [15/04/2015 al 31/05/2015]

Monumentos Arquitectónicos de España (Architectural monuments of Spain). Calcografía Nacional [23/12/2014 al 15/02/2015]

2008-13 Goya, cronista de todas las guerras. Los desastres y la fotografía de guerra (Goya, reporter of all wars. The disasters and war photography).

Calcografía Nacional, Madrid.

Centro Atlántico de Arte Moderno, Las Palmas de Gran Canaria. 

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Instituto Cervantes (Bucarest), 2012 [29/11/2012 al 27/01/2013]

Instituto Cervantes (Burdeos), 2012 [08/11/2012 al 17/03/2013]

Instituto Cervantes (Cracovia), 2013 [09/05/2013 al 28/06/2013]

Instituto Cervantes (Sofia), 2013 [30/10/2013 al 08/12/2013]

Instituto Cervantes (Estocolmo), 2012 [08/05/2012 al 08/06/2012]

Instituto Cervantes (Roma), 2012 [21/09/2012 al 10/11/2012]

Instituto Cervantes (Beirut), 2012 [25/06/2012 al 01/08/2012]

Instituto Cervantes (Belgrado), 2012 [24/02/2012 al 31/03/2012]

Instituto Cervantes (Berlín), 2012 [13/02/2012 al 30/03/2012]

Instituto Cervantes (Tokyo), 2011 [ 14/01/2011 al 10/04/2011]

Instituto Cervantes (Nueva Delhi), 2011 [15/07/2011 al 15/09/2011]

Instituto Cervantes (Shaghai), 2010 [29/05/2010 al 08/08/2010]

Instituto Cervantes (Beijing), 2010 [27/08/2010 al 02/12/2010]

2012 Grabados Francisco de Goya (Francisco de Goya’s engravings). La Bengal Foundation of Fine Arts of Daca [9 al 22/10/2012]

OPS: Dibujos para Triunfo, Hermano Lobo, Cuadernos para el diálogo y Madriz. Calcografía Nacional [18/04/2012 al 10/06/2012]

2011 Carlos de Haes, el gesto del paisaje (Carlos de Haes: the gesture of landscape). Calcografía Nacional [25/02/2011 al 25/04/2011]

2010 Los juguetes de las vanguardias (The toys of Avant-Garde) (consultant). Museo Picasso, Málaga.

2006 Crisóstomo Martínez. MUVIM, Valencia.

2011-2016

Certamen de Arte Gráfico para Jóvenes Creadores (Graphic Art contest for young creators). Museo Real Casa de la Moneda [junio a julio de 2011]

Certamen de Arte Gráfico para Jóvenes Creadores (Graphic Art contest for young creators). Calcografía Nacional [junio a julio de 2012]

Certamen de Arte Gráfico para Jóvenes Creadores(Graphic Art contest for young creators). Museo Real Casa de la Moneda [junio a julio de 2013]

Certamen de Arte Gráfico para Jóvenes Creadores(Graphic Art contest for young creators). Calcografía Nacional [junio a julio de 2014]

Certamen de Arte Gráfico para Jóvenes Creadores (Graphic Art contest for young creators). Calcografía Nacional [junio a julio de 2015].

Certamen de Arte Gráfico para Jóvenes Creadores. (Graphic Art contest for young creators). Museo Real Casa de la Moneda [junio a julio de 2016]

2011-2014

Premio Nacional de Arte Gráfico 2014 (National Award of Graphic Art). Jaume Plensa. Calcografía Nacional [31/01/2014 al 23/03/2014]

Premio Nacional de Arte Gráfico 2012 (National Award of Graphic Art). Luis Gordillo. Calcografía Nacional [20/12/2012 10/03/2013]

Premio Nacional de Arte Gráfico 2011 (National Award of Graphic Art). Rafael Canogar. Calcografía Nacional [1/02/2012 al 8 / 04/2012]

 

PUBLICATIONS AS AUTHOR (selection, more information in: publicaciones)

 

Historia de los juguetes de construcción: escuela de la arquitectura moderna (The story of construction toys: school of Modern Architecture). Madrid, Cátedra, 2012.

La infancia de las Vanguardias (The childhood of the Avant-Garde). Madrid, Cátedra, 2007.

Historia de la figura humana: el dibujo, la anatomía,la proporción, la fisiognomía (The story of human figure: drawing, anatomy, proportion and physiognomie). Madrid,Cátedra, 2003. ”Read

Los manuales del manual:bifurcaciones del dibujo (The manual of the manual: branches of drawing). En El manual de dibujo. Madrid, Cátedra, 2001.

La figura: teatro y paisaje (The figure: theater and landscape). Las Palmas, Edirca, 1991.

Libro de fisonomía o Breve historia de las ciencias del rostro ilustrada con modelos realizados por el autor (Book of physiognomie or Short story of face’s sciences illustrated by models made by the author)Madrid, 1993.

Introducción al Tratado de Anatomía Exterior de Domingo Antonio de Velasco (Introduction to the treatise of exterior anatomy by Domingo Antonio de Velasco). Universidad de Salamanca, 1987.

La figura en la luz. Madrid (The figure in the light). Fernando Vijande, 1984.

MY VOCATIONS AS A CHILD (by a way of a résumé)

 

I think I could justify my sculpture as the sum of my childhood vocations, but this self-explanation has a backstory: I was born in Las Palmas, and 8 years later I already wanted to be a sculptor; although I also wanted to be a bishop, a film director, a puppet master, a surgeon or even an architect. Now I realize that the only thing that appealed me from those professions was what they had to do with sculpture; as I interpreted them as if an sculptor to the core had started to practice each and everyone of them. ”READ

Probably, being a sculptor is some kind of genetic inheritance or, being naive, it might only be predestination, as the house where I was born was located at the intersection of Berruguete and Greco streets. This precociuousness was reinforced by my mother who sent me to learn the technical principals of the trade with a sculptor. But her incentives were also of crucial importance, as I will never forget my first paraffin figure in her glass cabinet where she kept her most meaningful treasures.

For reasons I would never know, but that I am now thankful for, after just a year in Jesuits pre-school, I was transferred to a singular, mixed, atypical and secular school. At this stage, two of my most defining features took hold: endless patience and a tendency towards a feeling of risk and boundaries. 

And nevertheless, the first vocation that I can remember having as a child was that of becoming a bishop. Nowadays, given everything, I cannot help feeling ashamed, but in my own defense,  what I really wanted was to live in Vatican.

But in the meantime, I loved building altars and imbuing the “saints” I modeled or carved myself with as many rituals as possible. I was fascinated by the flowers, their colors, their aromas, together with those of the candles and the extraordinary incense. But the culmination was Holy Week, and specially the Good Friday, with the mystery of the covered statues. I recreated the dropping of the purple veil again and again, with as much theatrics as I could.

Then “The ten commitments” came, and De Mille showed me a spectacle whose fascination made me recant my religious beliefs in order to adopt the religion of cinema. My brother Fernando and I built historical cities and miniature colossus and then destroyed them in catastrophes we pretended to film. We also drew scenes from films that we fed into an small projector. From the film director, an interest in photography has remained, leading to my cohabitation at my atelier with a Mamilla, a Zeis and other cameras. They anxiously await the day in which random displays reminiscient of theater may lead to periods of photographic reflection. But I also may extract from the role of film director the faith that makes me build the sculptures in my head, mounting the final work with the fragments that lie scattered all over my atelier

From the puppet master and surgeon I retain an heterodox method of making my sculptures, as I always build their bodies working only with their skin. It is all a consequence of a peculiar way of modeling, using the material in sheets (either thermoplastic or wax). And like the ventriloquist, with a hand pushing from the figure’s interior, I let the force of anatomy speak; and with the other hand, I injure from the exterior with the will of a surgeon and the scalpel of my own story. The puppet master arrived as an unexpected Christmas gift, one of those that change your life by unveiling you a world you had never even imagined. And, after various years of illusion, I learned about the life that comes from an inner hand. But the surgeon would arrive much later, on the verge of deciding about college, as during that summer I had the opportunity to attend several surgeries at a charity hospital. Even today, I revive those visions  through my obsessive passion as a collector of Anatomy books.

Architecture arrived as a commitment between my plastic interests and my decision of to not go against my family’s wishes. However, I recognize that my first and disciplined training as a child  anticipated what Fine Arts Education would have offered me. I remember that in that early academy, the demands were never lowered for me, as I received the same indications and tasks as my adult colleagues. However, with the architect, I’ve reinforced the sculptor’s will to be specific; drifting away from those sculptors who assume the responsibility of foretelling architecture. Maybe this embodies a comparison that my subconscious  has resolved in favor of sculpture. At least that’s why I’m inclined to the certainty of recognizing in sculpture its enormous and economic capacity of configuring a space. I am fascinated by how much energy is spread from such an small core of matter, in contrast to the squandering of resources that Architecture requires to provide order to the the same space.

In the end, my somewhat schizoid personality resolved itself in my doctoral thesis a certain agreement between those two backgrounds. And with the title: “Sculpture as an element of architectural composition” I studied the historial dialogue that has turned sculpture into an agreement of two wills: those of the sculptor and the architect. The implementation of these conclusions were made possible thanks to my collaborations with Óscar Tusquets.

In short, with this puzzle of interests that I’ve described, I’ve only managed to create doubts and contradictions. And I still have the same child’s curiosity that underlined my searches and entanglements, and does not want to repeat any of those lessons learned.

 

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