In 1980 was displayed for the first time a little collection of paintings and sculptures in which is already settled the bipolarity of this artist, that, again and again, will wander between the different paths opened by the “historical vanguards”.
In those initial moments he will grasp into the models and approaches of the Russian constructivists, elaborating pieces with ensemble polythene pipes (El músico de jazz, 1978), creating funny toys with discarded plastic elements, and carving architectonic sculptures with fragments of wooden beams taken from demolitions (Escultura I, Escultura II, Mirón, 1980).