Surreal Psychic Surgery on Ethereal Bodies
Born in 1959 in Zaragoza but living and working in Madrid, Dino Valls is 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.
After receiving his degree in medicine and surgery in 1982, he decided to devote himself exclusively to painting; the kind of painting which would be influenced by the humanistic perspective that brought about the study of man. This kind of attitude is reminiscent of the creative climate of the Renaissance. His passion for ancient painting moved him to study seriously the techniques of the great masters in the major European museums and 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.
Art is the only medium which allows man to unite his logical thought and his magical thought, redeeming him from the profound dichotomy which exists between both. Curiosity incites us to step out into the field of logic, raising our gaze beyond what may be recognized. This may be the point of inflection which leads us unreality in Dino Valls’ 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)