Twenty-two years ago I know Francesc Marti Rom. Throughout this time I have followed his career very closely, and I have found that his main virtue is the constant dedication to sculpture. Francesc Martí Rom understands the creation of volumes as a fidelity to a process that is generated in the hands of the artist, translating the intuition of the creator. In no case does it become a mental, conceptual or ideologically justified sculpture? On the contrary, he needs to feel the attributes of the trade, the perspective of tools and the proximity of the workshop. It grows more between welding and assembly, than between the plans of the books that argue the guidelines of conduct. It is purely an intuitive sculptor, left behind by the paths that indicate the materials. These are finally their alphabet, decontextualized objects that attract it by form or texture, as a gesture that continues to compose, manipulate them, new forms, totems and figures that praise the values ​​of collage, encounter caused or accidental.

Strongly rooted in the survival of the memory of things, landscape and the contemporary tradition of the arts, he believes in the transcendence of Art, as a language that is expressed with subtlety, with the same intensity that Salvat demanded Papasseit and, more than anyone else, Joan Miró. The genesis of its process is not far from the impact of the intuition that is also demanded by Josep Guinovart, nor of the customary look to unveil the brief distance between universality and roots that visitors of the Space have provided. His project of "dry earth and bitter oxide" will be comfortably integrated, reminding us that the thrust is in art, what memory in the landscape,
 

Josep Miquel García
Delegate of Plastic Arts Generalitat de Catalunya