Cocomir is born in Talarn (Lerida) in 1931. At the age of 14 he wins the National Prize for Young Painters and asks his family to be allowed to study fine arts. He is obliged, however, to finish high school and oriented towards architecture.

1947. - Studies architecture at the University of Barcelona. In Menton (France), he meets Le Corbusier who advises him to leave Europe and work in Brazil, where a new style of architecture is emerging.

1952. - Travels to Brazil with a letter of recommendation from Le Corbusier to work in Oscar Niemayer's studio. Nonetheless it is with Piragibe da Fonseca with whom he first collaborates. From Rio de Janeiro he moves to Sao Paulo and works with Da Rocha, Guimaraes Pinto and Netto. Hired by a multinational company, Cocomir specializes in industrial architecture and stays in Brazil until 1961.

1962. - Trips to Japan and Timor for industrial architectural projects.

1963. - Returns to Spain.

1964.- Accepts a contract to work in a F.A.O. development project for sub- Saharian Africa: Mauritania, Mali, Senegal and Chad.

1966. - After two years of meditation in the desert he decides to abandon architecture to devote himself completely to sculpture. He moves to London attracted by Henry Moore, Barbara Hepworth and the Minimalists. Introduced by Timothy Scot, he works a short time in Moore's studio, but it is with Joe Alberdi - Senior Professor of Saint Martin's School of Art - with whom he learns and collaborates doing the monumental "Fuente" for the Barclays Bank Head Office in Lombard St. City.

1968. - With a studio of his own, it is Herbert Read who advises him and introduces him into the art society. In O'Hanna Gallery he makes his first appearance as a sculptor.

1969. - Not interested in the commercialization of his work and being in need of more technical resources, he builds a studio in the Costa Brava, (Gerona, Spain) and surrounds himself with master craftsmen who teach him their skills. From this period we have the following works:

• "Insculturas": metal on wood with torn and tragic indentations in color
• "Indicios y Huellas": compositions in metallic paper
  
  There is a strange poetry in both constructions, in terms of a search and an approach to the "soul" that abides in materials.

1970. - Presented by Carlos Arean the Director of the Spanish Museum of Contemporary Art and by the philosopher Uscatescu, he exhibits in the newly opened Galería Adrià "Narcisos y Metalografias" in honor of his deceased daughter.

• The "Metalofagias" is a set of two sculptures that can be disassembled and still show an inner life per se, but can only be reunited in a single specific position, converting themselves into a new archetype.
• The "Narcisos" are conclusive self-sufficient pieces, impossible to disassemble, which satisfy and perfect themselves.

1972. - Galeria Seiquer (Madrid). "Integraciónes", first formal results of an extensive research on universal sculpture, fruit of a perfect integration of diverse concepts. He creates "Integración I", a monumental sculpture presently found in the Relais Chateaux Llicorella (Cubellas).

1973. - Cocomir develops "Estudios de Hombre y Mujer" (Studies of Man and Woman) - 36 interactive double sculptures: an approach to the language of symbols.

1974/1975. - "Retratos y Reliquias" - 14 monumental sculptures of expressionist content, technically executed and seeking "de-massification" and lightness, projected to take part in an Amnesty International travelling exhibition. They were conceived as a protest and homage to the repressed, to those "Saints" who have given their lives for the betterment of humanity.

1975. - He is invited by the "Centro Maestà" in Maceratta (Italy) to contribute to a project of gathering both artists and craftsmen in experimental and creative laboratories. The Centro is frequented by sculptors and painters such as Mannuci, Capello, Cesar, Burri, Corneill, Gotusso, Pignon, Artias, and art theoreticians such as Pierre Restany and Micheal Senphor.

1976/1980. - During his stay in Italy, apart from his work in the "Centro Maestà" and the "Libera Università Europea delle Arti", he experiments with glass in Murano (Fuccina dei Angeli), silver in Vicenza, ceramics in Bassano, alabaster in Volterra and marble in Carrara.

During this period, he also does research work in "Treatment of Extensive Areas", a technological formulation of "Landscape Sculpture", and what he names "Hot Stones": These are, however, intimate areas within urban developments where the use of land is essentially intensive. These are not sculptures to be "seen", they are sculptures to be "at". Think of them as crevices where birds build their nests or where reptiles bask in the sun.

Creates projects for Saudi Arabia and Mauritania, both with the inclusion of microclimates. Edits the book "Escultura con Bulldozer". (Sculpture with Bulldozer)

1980. - Back in Spain he works on 22 large reliefs with mixed technique - wood, steel sheet, and canvas - freely colored by the painter Balzi. The result is exhibited in the gallery Fontana D'Or, (Gerona).

1980/1982. - "Esculturas de Contrapunto", a synthesis of organic and geometric elements.

1983. - Abrupt changes in his private life, with the surrender of all his rights and estate along with the firm decision to keep sculpture as his sole profession, oblige him for the first time in his life to consider art as a means of living - a new and absolutely unknown situation for him.

Cocomir settles down in San Antonio de Calonge, just three kilometers from his old studio. Far away from the commercial circuit, being astride three countries and always having escaped from militancy in any group or "ism", with a difficult language and without any promotional capacity, he starts again from scratch, although this time with 20 years of profession and enough technology to realize any project.

Located in a touristic area - although with a very short season - he opens a window to the public. Cocomir miniaturises his sculptures to transform them into gold and silver sculptured jewellery to wear. He turns his reliefs into mirrors; his formal studies into canes, pottery and artist's furniture, and starts to sell.

He simplifies his language and makes it more comprehensible. On his own however, he keeps on with his research. Fruit of it are his "Actos de Caridad". ("Acts of Charity") developed as a profound work in both: concept, where the simplest piece of trash, a dirty rag, is elevated to a work of art through an act of love; and in form: achieving sculptural volumes that are volatile, smooth, and free while simultaneously determining and powerful.

During this period he also creates models: jewellery for Bayanihan, canes for Loewe, pottery and resins.

1988/89. - Forms part of a group of six artists selected by "Art Català Difusió", making exhibitions of sculpture and jewellery in Frankfurt and Munich - Inhorgenta 89.

- Creates Fountain "Contrapunto V", (Counterpoint V), an exterior sculpture in polyester and sheet iron of 350 x 35 x 27 cm. for the central court of the Galerias de San Antoni de Calonge.

1991. - Moves his studio to its present location where he has the possibility of receiving invited artists and working on large sculptures. Most of them are requests from architects and decorators, as it is through this co-operation that sculpture can be integrated in a project to form a whole and become an aesthetic means of improving the surroundings.

1992. - From then until the present date, without problems of space, and solely motivated by his untiring creator's curiosity, convinced that Art is an open and multidisciplinary code, he develops, at the same time as working on his sculpture, the following investigations:

• In the series "Monocromos" he explores the creative possibilities that are produced by the incidence of light on sculptural volumes.
• He continues and amplifies his collection of "canes" understanding the cane as a linear sculpture with a mass and its subsequent loss as it narrows, a turning, the gesture of a spin, and above all, an aesthetic and tactile exercise. It is a permanent learning situation of partial results and due to that, they are continuous yet not exclusive.
• He creates more than thirty objects and pieces of furniture conceived as usable and functional sculpture.
• He investigates the possibilities of volume on paper. First with the painter Mercé Juvés and later with the painter Pere Camps, he creates more than a hundred "Relief Monotypes" where the disciplines of sculpture and painting merge in a piece where the chiaroscuros of the relief and the freshness of the color due to the process of absorption unite with the stains of applied flat pressure.
• Petitioned by a client, he develops a series of "Lamparas Escultura" (Sculpture Lamps), for exteriors and interiors, as beautiful, luminous, fun and functional artefacts, where light is at times the primary actor, and at others, just a medium for determining volumes.
• He continues with "Joya Escultura" ("Sculpture Jewels"), - different thematic collections in gold and silver. His pieces are the fruit of emotions. They are studies in rhythms and counter-rhythms in a unique language and with a strong personal mark. "To wear the Sun on the neck as a pendant or the Moon on the wrist as a bracelet is fantastic."