Jesus Gonzalez de la Vega was born in Torrelavega, Spain on November 10, 1962.
As a child he modeled any soft material that fell into his hands; clay, crumbs of bread from his sandwiches or fruit that would later be eaten. Something he always carried in his pockets were playdoh balls, and he couldn’t stop sculpting them. His first memories are clown figures and the characters of his favorite television series (the chiripitiflauticos).
When he turned 11 years old, he created his first collection of sculptures with no less than 75 works in different materials. His first works were made out of clay, and later in cast bronze. Amongst his first works exhibited is that of Mero the sweeper, a figure known to all in Torrelavega back in the 70s, today this piece can be visited and seen at The Gardens of Pequeñeces. It is a realistic and small piece that reflects the physical defects of the street-sweeper.
De la Vega began his studies of fine arts in Madrid at the academy of San Fernando but his restlessness and desire to work led him to learn techniques in a foundry workshop and to leave the academy.
His works began to be sold to individuals and public institutions from a very young age, today adorning squares, roundabouts, avenues, gardens, and public buildings in Spain.
His creative objectives led him to Los Angeles in the United States for one year (1991), the shortage of means available there were solved by using the cartons of supermarkets as material to create his works. One of his most acclaimed pieces was the sculpture of a gigantic red telephone built from water packaging. When he was becoming known within the artistic environment in the city of film productions, his nostalgia for Cantabria pushed him to return home and today he has his workshop at his house in Puente Avíos.
His work is listed as expressionist and constructivist and with great realism at the same time. Expressionism tries to give more intensity of expression to the sculptures, with exaggerated gestures achieving a great emotional force. Constructivism is characterized by his interest in the forms of architecture and the expression of volume.
In his sculptures he chooses to ignore the classic Greek rules of idealised anatomical proportion of the seven head within the height of a body and instead opts for the Super Hero proportiion (eight heads) which exaggerates his characters bodies to forms such as those of supermen, as are often depicted in comic books, strong, hard and with an open interior in sight. They are not the figures of perfect dimensions but almost human-like beings of great strength and size.
Every piece by Gonzalez de La Vega shows hours of work, mathematical calculations and detailed layouts; In fact he has his house full of studies and sketches. His works are full of technical imagination and originality. In recent times it is oriented towards resin sculptures that let light through a complex interior work.