In the world of artists it is often encountered temperaments in conflict, a symptom that in them there is a great creative tension.

Jean Anguera obeys this type of artists. His training and professional exercise as an architect completes his dedication to the sculpture to which he is given with true passion. Both paths converge on this artist with the apparent purpose of seeking a spatio-temporal arrangement of his peculiar world of ideas and certainties. In that hypothetical order, territory appears as a living space, although it seems uninhabitable. The landscape, perfectly organized, is the domain for the action and projection of the artist's feeling.

Jean Anguera poses a hierarchical territory, as ideal models, sophisticated architectures that simulate or sometimes presume, figurative elements. We became aware of this way, even though the artist flees corporeity, to man before the earth element. Man facing the landscape poses the inevitable dialogue. From this exchange of feelings and feelings the artist extracts signs and symbols that relate to the world of his affections, feelings and experiences nearby. The rhythms of the landscape obey their morphology as moods to personality tendencies. Progressively the inerme landscape is encouraged and transported to the world of concrete figurations, although always masked with the appearance of rocks, folds and stone materials: the valleys, the woman; the high rocks, the faces of the landscape. There is tacit hermetic in the work of Jean Anguera who, nevertheless, intends to communicate. Jean Anguera engages strenuously in his task, has chosen the arduous, laborious and contradictory way of trying to order his existence by emptied himself in sculpture.

Maria Cristina Gil lmaz
Director of the Pablo Gargallo Museum