To a certain extent Gabino’s work carries on the legacy of Julio González (1876-1942) with regards his interpretation of constructive aspects and spatial elements.

The artist soon abandoned his earlier figuration to experiment with abstraction, , new technological advances, engineering and architecture. From the constructivists, he borrowed their intersections and compositional methods; from spatialism he took the three-dimensional quality; from kinetic art the play of optical combinations; and from minimalism the magnitude of forms…

Each part has its own natural unity within the work, which is much more than a simple mechanical grouping of disparate elements. There is no randomness or happenstance at work in the composition, rather a deliberate organisation.

He cut sheet metal into simple, sober figures which he then took out of the flat two-dimensional plane and transformed into modules, divesting them of their erstwhile rectilinear rigidity and imbuing them with greater flexibility. This process gives rise to a dialectics of the visible and the hidden behind these sheets that could well remind us of the armour worn by a medieval warrior, the skin of certain mammals or reptiles, space dwellings, or even the relief of a planet dotted with volcanic craters. A closed space protrudes outwards through these powerful Polyphemus eyes. Rounded forms, compact elements, defined perimeters… characters created by this new technique, covered with a soft steel or brass skin and a roughened rusted texture.