As a sculptor trained at the School of Fine Arts of San Fernando in Madrid, I received an education based on classical statuary, which I consider to be the basis and the grammar for any design professional. Later I had a hands on experience at the Jhonson Atelier, Technical Institute of Sculpture, in the US where a completed my formation with the more grounded part of the making of a sculpture.

There quickly mi interest became focused on the relationship of the sculpture as an object with architecture as a space that contains it. This subject matter had already been of my interest in Madrid at the theory courses at the art school.
This took me to study a Masters degree in Architecture at Yale University, within the school of Art and Architecture where I was able to follow my own curriculum, always centered around the topics of art and architecture.

As a consecuence of my first interventions in exterior space I understood the tremendous potential that the botanical world has, not as an infill, but as a very active part of the character of a space. From then on this has been my field of intervention.

At the same time the world of contemporary sculpture is witnessing a disintegration of the object and a treatment of space as an object, which is totally compatible with my interests.
The fact that there were no formal studies in Spain of Landscape architecture at the time, made me realize that basically what I was doing was accumulate the different scattered fragments of the many disciplines that come into the making of a complete exterior space.

I understand a garden as a work of art and as a space of transition between two opposites, the interior space, framed by the architecture, and the exterior space, the endless space of the landscape. Garden art and architecture resumes my approach to the different scales a project may have (patios, terraces, private gardens, temporary gardens, public squares), integrating the built and the natural.

I place special emphasis on the sculptural and visual aspects of the project, in a dialogue between the architecture and the immediate ground that surrounds it , understood as an active topography : “Topos”, therefore an element of great potential for being modeled in a sculptural way.

I am also very interested in the biological or living elements of the project, as they are the ones that contribute the timely dimensión (color, season, fragance, light) to the previous more static layer.

The garden and its relationship with its surroundings is therefore the result of a process and not of a preconceived idea imposed on the place. The endless possibilities of materials, being either botanical, mineral or constructed, are the means for this act of grounding ideas and searching in the realization of a garden the physical manifestation of those ideas we have latent about any space.