In 1913 he travelled to Paris where he came into contact with futurism and although he wasn't a futurist in the strict sense, the influence of Marinetti, with whom he had an epistolary relationship, contributed to the evolution of his sculpture.

In Barcelona, he approached the noucentisme and avant-garde artists, whose influence is shown in La escolar, for which he won the first prize at the National Competition of Sculpture in 1926.

On early 1937, Ángel joined the Seizure, Protection and Rescue of the Artistic Treasure Committee which was set up on December 15, 1936, and had Roberto Fernández Balbuena as president and his brother Alejandro Ferrant as chairperson.

Ángel was arrested in the Committee units by agents from the Servicio de Información Militar (Military Information Service) or SIM of the Ejército del Centro on May 27.

Ángel presented his resignation in March, but soon he canceled it because he was unwilling to move The Descent from the Cross, of Rogier van der Weyden, to Valencia.

In April 1938 Ángel Ferrant was asked to go to Barcelona, where he stayed until June leaving as responsible of the Committee Matilde López Serrano, a Francoist agent of the SIPM (Servicio de Información y Policía Militar).

In July, Pedro Muguruza, Commissioner-general of the Servicio de Defensa del Patrimonio Artístico Nacional, submitted a report to the Military Tribunal of Officials explaining the Committee's role in the preservation of the patrimony in Madrid.

For economic reasons, Ferrant took different orders, such as some of the reliefs of the Descubrimiento column in La Rábida (Huelva), but he also started working again in objetos hallados - shells, stones, sticks - assembled in structures of “non-utilitarian expression”.

In 1948 he met the German artist Mathias Goeritz and his Escuela de Altamira, which promoted working with stone or clay objects in which human figures would be outlined.