I was born at the end of autumn 1956 in Vic (Osona - Catalonia). Since I was a child, I had a relationship with nature in a quite global way : sea (Llançà, Cap de Creus...), inland (Plana de Vic...) and mountains (Les Guilleries, el Cabrerès, el Pirineu...) as well as with the forests and animals (Horta de la Serra de Sant Ferm...).

I moved to to Barcelona for study at the Highschool.

  • 1966-68 : Isabel de Villena School.
  • 1969-73 : Escola Garbí.

Both of them with an advanced pedagogy and a deep catalan national feeling.

Music, literature and plastic arts have a very important role in my education.

My relationship with the city is distant.

I make the first sculptures with glass rounded by the sea and with trunks, feathers and leaves.

I am facing the first important crossroad of my life : music (percussion) or plastic arts.

  • 1970

    Family trip to Italy : Milan, Florence, Pisa and Venice. I have direct knowledge of Italian Renaissance art (I still do not consider myself capable of capturing it in all its magnitude).

    I start my relationship with the horses by hand of my friend Pere Salgot.

  • 1973

    My parents give me full support to devote myself to the world of art.

    I visit the caves of Altamira with my friend Narcís Clavell.

  • 1974

     I do the preparatory course at the Massana school where I take more advantage of the humanistic formation than the artistic one (teacher A. Rucabado).

     learn the sculptural and literary work of the Basque-born artist Oteiza.

  • 1975

    I divide my time between Mas Freixenet (Muntanyola-Osona) where I will live until 1992 and Olot, where I study engraving at the school of Fine Arts with the master Vilà-Moncau.

    I study in depth the Taoist aesthetic and read the complete works of Herman Hesse. Sculpturally I investigate the combination of "objects trouvés".

  • 1976

    I study the technique of wood carving at the Llotja school in Barcelona.

    I travel to Egypt : Gizeh, Luxor, Assuan, Abu Simbel, Memnon's giants..., where I experience for the first time the sensation of total space in a work made by humans and where I start my relationship with the Sahara.

    I visit the Acropolis in Athens.

  • 1977

    I make my first public exhibition to the gallery "La Tralla" (Vic) of drawings and sculptures.

    I start to work the forge with the blacksmith Ramon Serra from Santa Eulàlia de Riuprimer (Osona).

  • 1978

    Year lived in Menorca where I incorporate the stone to my work, that absolutely declines towards the sculpture.

  • 1979

    Stay in Mexico to prepare the exhibition at Galeria Pecanins. I travel to Guatemala, Oaxaca, Yucatan, Copper Canyon, Chihuahua, Sonoran Desert, Baja California... I know the work of the peoples, maia, asteca and olmeca.

    I live and work in the workshop of sculptor Eduardo Olbes in Tepotzlan (Morelos).

    I start a series of conversations about ethics and aesthetics with the designer Jordi Casablancas.

  • 1980

    I go to the Sahara with a team from the Mexican television to film the documentaries :Tassili N'ajjer (centre of cave paintings and engravings) and Polisario (the resistance of the Saharawi nation). I know the Tuareg people.

    In my work I start changing the number 3 for the number 4, that is, the triangle for the square.

  • 1981

    I return to Menorca to study its megalithic culture in depth.

    I go to the Picos de Europa (Asturias).

    First exhibition in Barcelona: Tom Maddock Gallery.

  • 1983

    I visit the basaltic formations of the Hoggar (Sahara).

  • 1986

    I return to the Sahara in the summer, where I discover the true dimension of the desert.

    I participate in the second "Fira de l'escultura al carrer de Tàrrega" where I make my first large scale sculpture.

  • 1987

    I work on engraving again (in Barbarà TALLER 46 with the collaboration of Virgili Barbarà) and drawing.

  • 1988

    Trip to the Atlas (Morocco).

  • 1989

    I get married with Marina.

     Intense learning in the work of mud and fire with the ceramist K. Danés and sculptor A. Garraza.

  • 1990

    I was invited to participate in the Symposium at Lützowplatz (Berlin) where I lived for two months.

    I start working with the Scheffel Gallery (Bad Homburg).

  • 1991

    I went to the granite center of Sidobre, (France).

  • 1992

    Nina is born.

    We move to All (La Cerdanya).

    Edited with the poet M. Martí i Pol, the book "El silenci" (poems and engravings). Editorial Maià, (Andorra).

  • 1993

    "The presence is usually given by the shadow."

    I make a forge at home (the blacksmith's altar).

    I attend the congress "La Farga catalana", (Ripoll).

  • 1994

    I know the engineer Tomàs López who introduced me to the technique of cold metal stamping.

    "I lose intensity because I gain logic."

  • 1995

    "I'm starting to see the other side."

    Basque Country: visit to Arretxinaga (consecration of the stone) and combs of the wind - Chillida - (consecration of the iron).

  • 1996

    "There are two kinds of artists: those who think the world should be grateful that they exist and those who are grateful that the world can exist."

  • 1997

    Marc is born.

    We make, with Jordi Coca "El llibre de l'aigua" based on some haikus of Matsuo Bashò, (Boza editor).

  • 1998

    "I participate in concrete and corporeal art, the ephemeral and intangible I see it constantly in nature and I don't dare with it".

  • 1999

    I make the sculpture "Porta (de la Seu)".

  • 2001

    "Normally, in my work, iron makes a great show of energy, but stone, still, knows that it has all the secrets."

    Stay in the French Brittany. Intense land. Sea.

  • 2002

    "The artistic works that operate in virtual space do not interest me much because, for me, virtual space is for ideas, not of artworks".

  • 2003

    "In my work, I recognize more of Nina Simone's influence than Picasso's".

  • 2004

    I make the sculpture "Diàspora" in which I begin to work the industrial forge in the Basque Country.

  • 2005

    With the architect Xavi Cosp, we make the Mirador de Llevant (Puigcerdà).

  • 2006

    "I'm interested in nature, not in landscape, with which I relate in a more than a cultured, in a instinctive way."

    I made "Claustre concret" in the Cathedral of Vic, my first temporary public work.

  • 2007

    "I'm starting to have trouble letting go of time"

    "While there are artists who read and digest the words of others, I prefer to walk and watch the trees up and the water down.

  • 2008

    Travel to Greece : the origin of our culture and our values. I visit the theatres of Epicurus and Dionysius, the Acropolis, the temple of Zeus and Delphi as Jordi Coca says: "if Gods exist, they are there". I also know Meteora - how could it be that I lived without knowing of its existence? - and the art of the Cyclades Islands that 3,000 years ago had already reached the end.

  • 2009

    "It's been a while since I've had some distance, so I don't see much."

  • 2010

    "To grow old is to see beyond appearances, to be young is to see beyond reality. Adults see neither here nor there".

  • 2011

    Concert by Lluís Claret - violoncell - at the church of Pedra (Cerdaña). Suites by J.S.Bach. Sublime.

  • 2012

    We do, with Marc, the Camino de Santiago, by bicycle. An experience close to my great journeys of yesteryear.

  • 2013

    "I work with instinct, I smell the landscape, I drink water, I touch the distance, I feel the energy, I look at the air... but between one hand and the other:I concrete"

  • 2014

    I attend live the reflections of the sculptor D. Karavan regarding his work "Passatges" memorial of W. Benjamin. Portbou (Girona).

    "I don't read... but I walk".

  • 2015

    "Nature is dedicated to be, humans to do."

    I read "Sapiens" by Y.Noah Arari. A revelation to understand the contradictions of our animal species.

  • 2016

    "The obsession of wanting to enjoy the moment is partly responsible for the precariousness of everything."

  • 2017

    "There are situations in life, which are like when you have to unhorn your horse: maybe it's to set it free... or to sacrifice it."

  • 2018

    I incorporate glass into my work (I tried it 40 years ago).

    Stay in Valle d'Aosta.

  • 2019

    In life, and in art, it is very good to meditate and doubt, but it is essential to draw conclusions. Finish the work.

    Confinement? … I haven't noticed any change, it must be that since I was 16 I chose to live confined to myself, nature, horses, materials, family…

  • 2020

    I’d love to make sculptures, the way JJ Cale plays the guitar and composes: with the simplicity of having pruned everything unnecessary.

Scroll to Top