When I was 15 years old, my best friend’s mother said to me ‘you just paint’. The truth is that I wasn’t bad at it.

But, at that time, close to the pleistocene, if you were technically inclined and skilled with a paintbrush, your destiny, almost certainly, was to end up doing architecture,
your destiny, almost certainly, was to end up doing architecture.

When I was finishing my degree, I got myself into three simultaneous messes:
finishing off the PFC, working in the afternoons in a structural calculation studio and, on top of that, I stumbled into the world of 3D.

You can imagine what that was like in 89. Structures bored me to death. What really turned me on was 3D.
There was no internet, so the only window to that world was a programme on La 2 called Metropolis.
Every time I saw an episode, my decision became clearer: I wanted to do that.

When I finished my degree, I returned to Zaragoza. I was the pioneer of 3D in the city and, suddenly, everyone wanted me to collaborate with them to enter competitions.

For years, I was an architect by day and a 3D visualiser by night.

I loved architecture, both the development of the projects and the work on site.

As time went by, the 3D commissions kept coming in and the architectural ones slacked off. Gradually, I left architecture.

And I say ‘came’ because the team went from one to three.
Two great artists, César and Pablo, joined me.
Since then we have been in this together.

Thirty years have passed.

In the end, destiny wanted it to end…

painting architecture.