The third period is that of consolidation, 1962 – 1968.

He has bravely left his job in Mollet. He has settled in the city, in Barcelona, his four sons are at boarding school, on grants, and his daughter works. Now he can dedicate himself completely. He divides his time with various jobs, but all related to art, the creative work, as economically he is at the worst point of his life. Paradoxically, his work will be recognised and rewarded. He gets to know Cirici Pellicer, who projects his paintings; Josep Maria de Sucre. He attends social meetings and is invited to many exhibitions. He becomes founder of “Grup 5 Forma”. He obtains a mention of honour at the Joan Miró art prize and a prize at the “Sureste” in Elche, Alicante.  It is the abstract “tachism” which hits the mark with his style, “informalism”. He has left his paintbrushes and the spatula. He works on paper and on wood, sometimes on canvas, with dyes, nearly always black with various densities and tones, sometimes thickened with walnut.

But, true to his way of doing things, he searches parallelly in new figures, in what he calls sculpture-paintings; he paints on wood, cloth, making holes in it, raising it, submerging it, creating reliefs with cloth and a mixture of plaster, glue, sawdust and sometimes pieces of wood stuck together. At the beginning using dark colours but rapidly dedicating himself exclusively to brilliant white, which hurts. It is the white of the soil of his village, Albaida. Sometimes the themes are hidden, a sort of construction, but most of them are of what has been his favourite theme throughout his career: eroticism, sex, woman. After 1965 and within the same sculpture-painting line, the theme subject would also be the denouncement of society.