Alba Gonzales was born in Rome to a Sicilian mother, whose origins were both Spanish and Greek, and a Spanish father. At present she is living and working partly in Rome and partly at Pietrasanta. She started dealing with sculpture on a continuous basis during the early Seventies and was then motivated by the intention to represent the plasticity of movements of the dance she had been practicing with passion at a professional level. After her traditional figurative beginnings, she experienced the fascination of materials (stone, tufa, marble) and devoted her work to deveopping stylized forms of the human body, in an attempt to grasp and interpret its symbolic aspects, rhythmic structures and totemic suggestions. In 1978, she accepted an invitation by the critic Giorgio di Genova to exhibit her first monumental bronze sculpture on the Piazza del Duomo at Pietrasante (the show was entitled “Sculptors and craftsmen in an old town “). Since then she kept on attending Sem Ghelardini’s marble workshop and enjoying his friendship and cooperation. Working together with the skilied stone-cutters of the Versilia, even after Sem’s untimely death at Pietrasanta, with those of Angeli’s workshop at Querceta or Carlo Nicoli’s shop at Carrara, and watching her works growing up next to those by the most important and famous masters of contemporary sculp-ture (Moore, Marino, Cesar, Noguchi, Adam, Signori, Cascella, Consagra, Penalba and others, coming from every part of the world) gave her an extraordinary impulse to go thoroughly into the techniques and poetics of sculpture as well as to acquire a better knowledge of herself. The evolution of Alba Gonzales ‘ personality and creativity moved forward along some fundamental thematic lines. Up to 1985, an essential issue was the dialectics of structure with anthropomorphic configurations exploring the sense of archaic myth and modern mechanism. 1986 was the year of the theme “Loves and Myths “, that is still present in her activity, enriched by new important works witnessing the fascination still emana-ting from the Mediterranean civilization. At the same time, there is another theme that urges Alba Gonzales’ response to the existential condition in sculpture – “Sphinxes and Chimeras”, that is the beast inside ourselves, by dramatizing and theatricalizing fanta’stic figurative forms together with strong erotic-oneiric connotations.