|Now, this one is total delight and extravagance to the fullest, i like to say when i come across some stunning piece of an art.|
| “Having previously obtained a degree in medicine, he is now one of the Spanish representatives of the vanguard of figurative art. His painting, elaborating and expanding the methods of past masters, centers on the human psyche by using figurative techniques only as a formal support in which to project a conceptual content laden with profound psychic weight, where the most obscure pulsations develop in a symbolic process of intellectualism. He has participated in important international exhibitions of contemporary art, and has held numerous showings in Europe and the United States.
He is a self-taught artist with an early involvement in drawing. He began painting oil in 1975. During his medical studies at the University of Zaragoza, he continued his painting and submitted his work to various art competitions in Spain and France, where he receive several awards.
His passion for ancient painting moved him to study seriously the techniques of the great masters in the major European museums. In the mean time, he continued to participate in one-man and group exhibitions.
In 1991 Valls studied the art of egg tempera and the technique of the Italian and Flemish masters of the 16th and 17th centuries. Egg tempera remains his favorite technique for painting.
One of the privileges by those dedicated to art is that related to a special form of possession. Although a person’s desire to grasp another may never be completely fulfilled, being able to create an image the possession of which begins and ends strictly in the actual creation, is an eminently artistic prerogative, that in addition to being much more satisfactory, accompanies another aspect which is not of less importance: he concept of endopathy, according to which, in order to paint a figure, one has to become it. Just as all paintings are self-portraits, only mirrors hang on the walls, which means an extension of the relation between participation and effect upon each other by the work of art, the author and the spectator.
On the other hand, the relation between the person who looks and what is being contemplated causes archetypes to appear and ends up by establishing an active communication between the work and the receiver, as it is based on the power of projection which the unconscious causes to arise in the person looking.
The gaze discovers the painting and this reveals what we only know intuitively: the irrational. It is during our attempt to rationalize it that the conflicts arises, originating in our collective cultural unconsciousness, which scientific research continues to try to unmask.
Just as dreams disguise themselves as reality to make themselves recognizable for the consciousness, Dino Valls` painting conceives his artistic ideas based on the artist’s interior unreality. Neither realism as naturalism, nor a fleeting personal view of the real world concern him. It is not the exterior and its objective reality that attract him, but rather the contrary. This is a search inside oneself, plunging into the warehouse of what underlies everyday experience. In his work, the painter reveals these profound conflicts, and the spectator recognized them as part of his internal struggle, as they belong to the same human essence”
Alicia Guixa, Catalogue, “Dino Valls”, Madrid (December 1993)
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