According to Delgado, material or immaterial limitations are dangerous because they can transform a land surrounded by sea from a utopia to a dystopia. The artist describes his fight against pressure and censorship as a fight of a utopia to survive after hard times. What Delgado got from the prison was the technique and materials he uses now. He learned to draw on handkerchiefs using colored pencils and face cream and to carve sculptures out of soap. All his works are about his experiences in prison or they have traces of those experiences. In his installations and other works, metaphors and symbols of intolerance and control mechanisms are clearly apparent. Delgado criticizes symbolically all political systems but not any particular one; he is in search of human values capable of bringing together individuals who have been stripped of their basic rights.

Angel Delgado gives his message via two axies: firstly, through the materials he begun to sculpt and to process in prison which have come to represent his artistic identity, soap in particular. And secondly, through his drawings; Delgardo uses an impassive technique, as neutral as a diagram, to express a powerful sense of threat and surrounding darkness. Drawn with the minimal precision of a sign the objects and men in Delgado’s work are nonetheless solid and real, metaphors for a closed-in world. What Delgado does in life, as with his installations, sculptures and videos, is to reflect a strong ethical attitude with no hint of grudge or revenge. His own ideals are simple and clear: to be the voice of one the who is not represented, to claim a little individuality and to emphasize the responsibility of art to be the conscience of its time and a voice of minorities.