Nace en 1959 en París, Francia.
Termina el bachillerato francés en Barcelona, cursa dos años en la Facultad de Biología de la Universidad Autónoma de Barcelona, y en 1985 se gradúa en la Facultad de Bellas Artes de Barcelona en la especialidad de pintura.
Sigue cursos de doctorado entre los años 1986-89, y en 1991 inicia su recorrido docente en la Escuela de Arte y Diseño MASSANA de Barcelona hasta día de hoy.
Paralelamente, realiza algunas exposiciones mientras el enfoque de su obra se decanta progresivamente hacia la fusión del arte y las ciencias de la naturaleza.
Escola Massana Centre d’Art i Disseny Hospital, 56. 08001 Barcelona Tel. 93 442 20 00 – Fax 93 441 78 44
Del 19 de Abril al 1 de mayo
Probably one of the best Catalan sculptors and would probably be considered one of the greats of contemporary sculpture if born in a country with more sensitivity for artistic creation, and especially sculpture. But nevertheless, Gabriel has been getting way with a play that invokes the imagery of classical sculpture but as Argullol Rafael says, assumes that it is doomed to imperfection by the same flow of human life . The sculpture of Gabriel toggles between past and present doggedly in pursuit of its own perpetuity. “The artwork does not belong to our time, the artwork goes to another time,” emphasizes Gabriel.
The sculptor from Badalona exposes until to 20 March, a fortnight of works, most quite recent bill in the Espai Volart Vila Casas Foundation, an institution that, unlike others , does have a high regard for his art. In the collection of Antoni Vila Casas, Gabriel is present in seven plays, two of which are incorporated fairly recently and now look at the sample Volart, entitled Plectopos.
Gabriel sculpted with the same strong conviction of Michelangelo, under which the works already existed within the marble. Or, as I said Oteiza, works as they were before, what happens is that nobody saw.
In the work of Gabriel plans an estimated depth of the ancient world. The sculptures are clamoring for a revival of the imaginary of the past. “Contemporary art can continue to renew only if it reproduces the archetypal experience of imaginary symbolic pantheon of the past”, he stressed Gabriel. He says, leaves the skin to get on the pedestal of knowledge, and hence the creative process can drag on for days, weeks and months. “In art you have to leave the skin and soul. A play is a congestion of strength and effort, “proclaims. Well that is the skin a major element in his sculptures: just see the masses of wood covered with hundreds or thousands of keys, looking for the effect of some scales. There is always a strong aura organic sculpture of Gabriel.