20th Century Spanish

This self-taught artist always maintained a close connection with Spanish avant-garde movements thanks to his friendship with fellow Canarian artists Martín Chirino (1925) and Manolo Millares (1926-1972). In 1964 he moved to Madrid, where he joined the Nuestro Arte group and started to lean towards the posits of and the guidelines of the

 El Paso Group 

founded in 1957 and formed by artists Antonio Saura, Manuel Millares, Rafael Canogar, Manuel Rivera, Antonio Suárez, Pablo Serrano and the critics José Ayllón y Manuel Conde. This group was instrumental in promoting avant-garde art in post-war Spain. Its style and manifesto dovetailed with the European movement known as Art Informel and Informalismo, its variant in Spain. Notwithstanding the strong individuality of each one of its members, the artworks produced by the collective shared a marked visual consistency, expressed in the abstraction of the figure, experimentation with new materials removed from convention uses, individual expressiveness and the triumph of gesture and matter.

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After an expressionist period within figuration, with dismembered figures that protested against the violence of our society, he focused almost exclusively on his work with aluminium plates, which he cut and perforated, alluding to the social concerns that were to be an abiding feature in his practice. He later returned to figuration with more serene and abstract imaginary portraits.

His work is in major contemporary art collections, including ARTIUM in Vitoria, Museo Nacional Centro de Arte Reina Sofía in Madrid, Museo de Arte Contemporáneo in Panama and the Chase Manhattan Bank Collection in New York.