This Basque artist had an early apprenticeship in sculpture, starting out in his father’s workshop, which he then filled out with a whole range of other influences that helped to shape his future output.

Well conversant with classical art, he completed his training at the studio of the sculptor Raymond Dubois. From the sixties onwards, his work underwent an evident change, slowly moving away from the family workshop as he began to explore a more personal language in which he fused technical control with traditional methods of working bronze, the material he would use systematically in a large part of his work.

In the seventies, his practice could be divided into two clearly separate fields. On one hand, he produced geometric pieces by means of dynamic layering various planes in generally large-scale iron works for the public space; and, on the other hand, medium-sized sculptures with baroque, organic-like depictions without any symmetrical features.

That is the case of this piece, Abstracción I, a fine continuous plate cast in different curved and counter-curved forms, reminiscent of the French rocaille derivation of the baroque. Its organic appearance would seem to suggest plant forms, as if we were looking at marine coral sensually swaying in the sea current.