In my case, the process of engraving the plate itself is the most exciting part. I don’t understand the chalcographic techniques as the imitation of other techniques, or just as a way of producing serialized works. Nowadays, with the proliferation of all kinds of digital imaging systems, this would not make any sense. When I use a traditional intaglio technique I look for that quality which I perceive as unique. The engraving is, in my case, what arises from a process of many errors and unexpected events. For this reason, I need to make my plates personally.
Prints
Chile Pavilion at Expo Seville, 2005
Hard ground etching and aquatint on zinc
Plate size: 50 x 37 cm (20 x 14½ in)
Paper size: 76.5 x 56 cm (30 x 22 in)
Paper: Gravar Art 300 grs
Edition: 50 signed and numbered copies and 5 artist’s proofs
Printing: Antonio García Palomo, Obra Gráfica Original SL
Publisher: Aqualium SL, Madrid
Barcelona from the courtyard of the Joan Miró Foundation, 2002
Hard ground etching, aquatint and dry point on zinc
Plate size: 54 x 54 cm (21½ x 21½ in)
Paper size: 80 x 70 cm (31½ x 27½ in)
Paper: Gravar Art 300 grs
Edition: 99 signed and numbered copies and 10 artist’s proofs
Printing: Julio Toquero, Obra Gráfica Original SL, Madrid
Interior with a window and medlars, 2001
Hard ground etching, aquatint and dry point on zinc
Plate size: 49,5 x 79,5 cm (19½ x 31¼ in)
Paper size: 71.5 x 98 cm (28 x 38½ in)
Paper: Gravar Art 300 grs
Edition: 99 signed and numbered copies and 10 artist’s proofs
Printing: Julio Toquero, Obra Gráfica Original SL, Madrid
The light from the window on the table, 1997
Hard ground etching, aquatint and dry point on copper
Plate size: 30 x 30 cm (12 x 12 in)
Paper size: 50 x 42 cm (19¾ x 16½ in)
Paper: Velín Arches 300 grs
Edition: 50 signed and numbered copies and 5 artist’s proofs
Printing: Carlos Pérez Pérez-Serrano, Madrid