Paco Sainz




Portugalete, (Vizcaya). Related with the sculpture, I studied Fine Arts in the San Carlos school in Valencia, Terracota Restoration in Andalusia and Valencia, Godlsmithing in Valencia and Wood Carving in the United States.

I work with different materials and I feel special attraction for Stone, Bronze and Wood; I do not discard other materials that I include in my artwork. I like that in my art, the materials dialogue between them.

The bronzes are unique pieces and I do not make series, the stone I always work it on direct carving.

Mi artwork is distributed between public and private institutions, most of it is acquired by collectors and private individuals.

I have exhibited my work in Spain, the United States, Luxembourg*, Scotland and England.


Prometheus is the symbol of the rebel personality, avid creation and excellence. Prometheus is the monarch of “perfect” sculptures, animated by the ideal life of Art. Better to govern over these sculptural forms than to serve the tyrannical world. Paco Sainz, as Prometheus, enjoys & suffers drinking from the same spring.
Paco Sainz’s drama is the artist’s drama, from the creator of beautiful but inanimate forms, beautiful but deedless*. Paco Sainz’s supreme torment is to have to rein in with the marble, the bronze, the wood, … not being able to bring to live his creations. Is the sculptor’s desperation in his workshop.
Paco Sainz trusts his Muse to provide his sculptures/creations with soul, if not with their own movement and voice/speech but with the ability to understand and be understood. Sainz is satisfied with the joy of the creator that looks at his work and, even not all his pieces are pleasant, he trusts that some may be able to comfort him from all his wreckings. Paco Sainz knows that the FATE – the DOOM-, is part of his piece and fears, overall, that the creative magic becomes the supreme absence of an artwork, meaning, death. Not because of ephemeral or eternal it ceases to be part of the fatal chain of events.
Paco Sainz, as Prometheus, loves his artwork/creations, making a gigantic/supreme effort,
one second after finalizing his creation, makes it free/frees it, does not touch it, does not look at it (does not observe it), does not make it part of his live. Moreover, he detaches himself from it emotionally, if anyone knows all the love that has and can understand it. That is how Paco Sainz leaves his creations to their free will, he knows that the FATE is always there.
THE MATERIALS AND THE SCULPTOR Are the natural materials the first responsibles, the true makers of his world. Is to them, who he wants to dignify working them and, through this work, with commitment, dignify himself as sculptor. The materials in the nature are joy for the senses, they please him as sculptor and he likes them as a person.
The forever/ancient materials are – those ones that even time has a hard time altering-, the materials that he likes to receive and transform. Stone, wood, bronze, … they establish an intimate dialogue with the sculptor, one where there is always gratitude from him towards them, leaving signals of their reality so they can be admired by other eyes, from them to himself offering their completeness, their beauty, their ugliness, their hardness, their smell, … This is an offering in both directions, a non-written contract, not RUBRICATED, a PACT between materials that belong to the nature.
After the dialog and the work, what better pleasure than showing the seductive power that ENCLOSES the nature in all her manifestations*. Look for the stone, work it
with the hand, from breaking it till polishing it; searching for trees and work them from the cut to the waxing; melting the wax, create casts, melt and pour the bronze, patina, … and the same with the iron, glass, fibers and resins.
All this is an important part, very important, from the sculptor work. In the already over 20th century, for many artists this is an artisanal work. They are
expected to disappear through the 21st century, so we witness artwork in extinction threat.
Knowing the materials, choosing them according to the idea or image that comes to your mind matters. Letting the soul to reach the materials through the hands matters.
These “matters” are part of the sculptor and his creations. As a sculptor he seeks the stone, wood and others, he chooses and transform them, the same with the waxes for the bronze “SMELTING” and, later, as the moderator from a dialogue, he tries that they dialogue between them without none reigning over the others. Dialogue extremely difficult, because all, even the guests – iron, glass, plastics, … – have their own personality and none wants to miss their relevance. In that the result is not a disaster lays the sculptor’s mastery.