Núria, Lluís and Meius have asked me to present my sculptural work to be included in this fantastic CD, one of the marvellous techniques of our times that make it possible for everyone who wants, to be able to see forty years of my work. 

Let's start then: Today, like many other days, I got up with my head full of ideas, which initially seem to be great, but I'm an old cat and I know that throughout the day they will start to subside. Some of them will not be feasible, others will seem childish and the rest may not make it to tomorrow to be able to analyse them more rigorously.

I feed the dogs that fight to get into the car and I sort things out by handing out a few blows (I have to use my pacifist nature). Once they've calmed down, we will do the six-kilometre trip to work in Can Ginebreda Forest together.

Depending on the day, I'll polish sculptures, start a new one, go and cut the grass, mend some path or another or chat with the first visitor to arrive. Fortunately, visitors to the Forest are highly varied: old people, young right wingers and Catalan nationalists, left wingers and Spanish nationalists, lovers of sculpture or simply, inquisitive people. There are also a lot of foreigners. I can assure you than I have more visitors to the Forest that at an exhibition I did in Passeig de Gràcia, in an art gallery with loads of advertising. On a humorous note, it could be said that Can Ginebreda Forest has more visitors than many subsidised museums. My offer stands up to time and I think it has been worthwhile being stubborn and not becoming disheartened in the complicated times.

Initially, I didn't have any references on how to do things. I wanted to put my sculptures in a forest and for people to come and see them. Later on, I visited the works of Bomarzo in Italy and Krole Müller in Holland and I was quite clear about what I needed to do.

In Europe, at the moment, there must be 150 forests or open air spaces in which sculptures are exhibited. I'm convinced that, in order of antiquity, Can Ginebreda is the third forest in Europe. Forest, not urban park.

Over time, I have felt that Can Ginebreda is like a large book, each sculpture is a page and each collection is a chapter at the service of the visitor, who can read it while strolling through. This volume contains my impressions on the exercise of living: experiences and enigmas that are unsolved and that have left their print in my mind. Therefore, I believe that my concerns are universal ones, and therefore, worthy of discussion: life, death, eroticism, chaos, geometry are some of the bundles I have ploughed with my work.

At Can Ginebreda, there are different blocks of sculptures. With so many years of work one can't avoid changing register from time to time. As a guideline, I will mention two blocks. The first one, the sculptures that tell a story and that we could therefore call “literary”. They could be told in the same way by writing a page or through a theatrical performance: “Flowerpot Woman”, “Gay Testimony”, “Kangaroo Woman” and others.

In the second block, there are the sculptures that explain sensations, stripped of any anecdote, difficult to describe in words. They are the sculptures that I have always thought to be authentic, the synthesis that is fitting to our times. They're the ones that the monumental architects have stolen from small sculpture workshops, as a point of departure for constructing the immense masses that have become the symbol of all the cities of the world and that are an exponent of what can be done when a large capital, fantasy and technical advances are brought together. In this block, we find “Death and Disfiguration of Geometry”. “Bunkers”, “Constructions in a Block" and others.

Talking about this Forest causes me great satisfaction, but what would you expect me to say? I have built it and it has built me. It has been the storeroom when I have kept my brain and its furniture. Montse and I are on permanent duty to receive well-meaning men and women who still believe that a better world is possible, before our system explodes and nothing is left.