One could say that the artist is allowing himself to be dragged along by the very nature of the materials he works with: the fragility of those he uses in his paintings, which suggests and flies away; and the gravity of those he uses in his sculptures, which determine the course and are always in command. (…)

The gaze of the artist has scrutinised the multiplex matter, has glided along the moving surfaces of the sea and of the fields, has penetrated the dark coves and the foreseen gullies, has strayed amidst the fog and the snow; in such a way that he has felt the drive to tread upon, and to touch and feel all that his gaze was summoning him to walk upon, to touch and to feel, until he has come upon that old object, already forgotten, refusing to give it a new meaning, a surreal presence, and wanting only to touch it, with a touch which is neither absent-minded nor anonymous, but rather the intense touch of his acute subjectivity.

It is necessary to repeat this: he has not transfigured the object; he has only seen it, trod upon it, touched it. It is the artist's own way to tell the beholder: touch, tread upon, look at things for yourself; create them and re-create them, because no special talent has been bestowed upon me; you, too, can move beyond beholding and touching "the way everybody does".

B. Forteza Pujol
(from "La escultura de Hervás Amezcua")
Translation: J. M. Fontana & Cristina Cobo