Leather is raw material. The skin, the most extensive organ of the human body. It is also the most suffered, the most exposed. It weighs 5 kilos in an average adult. It is the first layer that protects everything. It takes care of the knowledge, complexion that perfects, beautifies, illuminates and shades the face.

Any classic binding is based on the use of small pieces of color that compose and complete the compositions. Once they were shingles that shaded and highlighted the spines of the books according to a bibliophile criterion, but little by little these pieces of leather were transferred to ornamental motifs to the point of becoming substantial parts of the drawing, essential parts of the composition. In the composition.

Each book requires a different, precise and specific technique to structure these compositions. I am fortunate that my father’s great inventive capacity, the callus of so many years of craftsmanship and his insatiable apprentice’s appetite (intact after 57 years) have made him a magnificent heir to the techniques developed by the great masters of bookbinding.

The legacy that he treasures in his head is a bit overwhelming, because it is difficult to compile it all, to document it, to transmit it.

And although mosaic work has always been a constant in Luis’ career, this collection corresponds to a very specific period. At the beginning of his career, when he began to reap some success and gain some prestige in the world of Reliure d’art.