This is the Little Martyr... This sculpture can be shown with or without the knife, public has to decide if the knife has to be or not on the sculpture's chest.
It's carved in wood and painted 120x60x52cms with knife.. 91x60x52cms without knife

3 gracias, 3 graces... wood, 60x51x12cms

This is sculpture is small 45x25x25 cmts and its carved in wood. It's called The strategy of flexibility

 

Damocles, carved wood, paint, 90x25x30 cmts

Voo di VeelDin is an online group show curated by Klaus Van Damme. I feel proud to take part in this project with my work Inertia.
Voo di VeelDin  presents the work of  Begoña Muñoz, Xaro Sanchez, El tal vez yo, Antonio Navarro, Susana Villanueva, Lluis Pujals, Carmen Montes, Cesar Gala Miranda, Osadia Cultura, Guillermo Lourido, Inma Fierro, Sergio Rodriguez, Florence Babin, David Haya de la Sierra, Rodrigo Talavera, Luis Mendez de Luarca, Ausin Sainz and Joan Priego
You can take a look at this online exhibiton through the following link:
 http://www.laimuseum.com/poeticaslai/Voo_di_VeelDiN/ART.html
I hope you'll enjoy it

This is my last work : Treatise of human nature 140x102x50 cmts. It's carved in wood and painted.

This is my latest work, it's called Caganer. It's a portrait of my female alaskan malamute dog, Yakone while doing her poo :)

It's carved in wood, 73x126x61 cmts

Contortionists and Siamese Contortionists have been lately a main topic in my work. Here are some pics of scupltures I made during the last months about  Contortionists and Siamese Contortionists.
And here's also the text "The secret life of a contortionist" that explains why Contortion became such a main topic in my work

THE SECRET LIFE OF A CONTORTIONIST

In our west society dominated by the way of production of the postfordist capitalism, work has become a way ofvirtuous performance that has no longer the production of valuables as a result.

As the philosopher and semiologist Paolo Virno argues the characteristics of the virtuous performer - pianist, dancer, actor…- such as communication improvisation are nowadays in the foundations of the intellectual mass work.

A new kind of work that is structured in the same way as a public sphere, where all of us as workers we are continuously exposed to the presence and look of theOther.

I think that because of the demands of flexibility and constant training and because of the deep crisis the figure of the contortionist has become theparadigm -among all performers- of the new social ‘precariat’.

As contortionists we twist and turn following the working market requirements

As Siamese contortionists our intellectual work faces us to the look of the Other that is just another Self, twisting and mixing with us in our everyday's pirouette since we no longer know where the Self finishes and where the Other starts.

As fragmented contortionists we acquire new skills and we remove our useless organs…

Flexibility, constant training, precarious employment…fragmentation.

The look at the grotesque figures of ‘the secret life of a contortionist’ is just to look at ourselves.

Here are some pictures of my last solo show that took place at the Galeria 3punts , Barcelona. From September to November 2011, all sculptures were carved on wood and then painted