The work that Pablo does concerns the endangered art of Mudéjar carpentry, along with the reproduction and restoration of antique woodwork. He seeks to prevent the disappearance of the rich yet unassuming folk carpentry that is part of our history.

His techniques are the orthodox ones… of his trade. He will even mark out pieces with a square and compass in the time-honoured way, thereby seeking to maintain the essence of the craft.

His processes are those to be found in traditional carpentry treatises: choosing timber, sawing, carving, marking, mortising, tenoning, moulding and assembly, with jointing techniques which today have all but disappeared, such as boquilla mortises or jaquiloca false mitres, engargolado tongue and groove, splayed mortises, stub tenons and countless other techniques with names which sadly few now understand, let alone apply.

In updating work processes, he sets out always from traditional patterns and procedures. So, for example, a handsaw may be used to make a mortise in a moulding, but a circular saw is also used, and though a fine gouge may be used to finish a carved or turned piece, the initial roughing is done by machine. He has no belt sanders, panel saws, edgers or other such large machines used in the wood industry. His contact with his material is closer, allowing for more creativity. From the selection of a rough-hewn block to the making, for example, of a table, there is a chemistry between the wood, the table and the craftsman: handling the wood, sawing it, working it, cutting it, sanding it, smelling its scent and finally giving it form as furniture.