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The Can Ginebreda Forest is a forest located in Porqueres (Pla de l'Estany) where the artist Xicu Cabanyes has taken part, turning it into a large sculpture park and his personal creation.

It is a wooded area of ​​more than 7 hectares. Oaks, holm oaks, pines, junipers, strawberry cherries, etc. predominate. Xicu Cabanyes' sculptures are distributed in the open air throughout this area, establishing a dialogue with nature and the surrounding landscape.

It began in 1975 and has gradually developed to consist of more than a hundred sculptures of various formats and made with materials as varied as concrete, stone, iron, scrap metal, recycled objects, etc.

The predominant theme is eroticism and so the knots, phallic and vulvar forms, breasts, buttocks, etc. are abundant. Eroticism is understood here as a celebration of life closely connected with the earth and nature. There are also religious symbolism, works with contents of social criticism, references to the contemporary world, etc.

Below are some photos I took in the park by my phone :

My favorite one:

The artist XICU CABANYES says on his website :

Now that I am in the final stretch of my artistic and biological life, I can say, with a little complacency, that of all the ideas that have always come to my mind, the best thing has been to make the Can Ginebreda Sculpture Forest and to make my people, Porqueres, his heir, who will guarantee that it will always be a public space for everyone.

Of the more than 2,000 projects and models that I have done in this stubborn and long artistic experience (which has happened without realising it), about 150 I have been able to carry out in the Bosc de Can Ginebreda and another much smaller part, for the region. I have also made some timid trips to Stockholm, Italy and Andorra in a public space and in private. This has been my source of income to go pulling and being able to build the Forest.

I have never had the conditions and the will to be part of what is called "official culture". I would like my work to reflect the space in which I have lived: I was born in a fascist country and I will die just like my parents, grandparents and many more generations pulling back, without being able to see our free and republican country .

I have always highly valued trades for the connection between the hands and the brain ―reflection and execution―; this is formidable. Sculpture has it all: the occupation of space and the language of materials, that if you don't make friends with it and don't try to speak its language, you won't be able to get anything good out of it (rather the destruction of the stone block, wooden trunk, iron or as many materials as you can get your hands on). In fact, taking advantage of the materials is just as complex as dealing with people with varied characters that you can’t avoid: you have to be very careful about how you treat your bei, if you want to get good results. With sculpture you can talk about everything: politics, erotica, transcendental versar, political and religious advertising (which is almost the same and, if not, see the history of humanity, written almost entirely in sculptural volumes, from dolmens, menhirs, obelisks and ziggurats, to cathedrals and bell towers, circling the puffing and permanent erection). From the Paleolithic to the present day, man has had an invariable stubbornness in the search for materials that erode other materials in order to make a dream come true.

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