Imago Dei

about Dino Valls

We could try to understand Dino’s aesthetics as a form of meditation on the status of today’s subject. His paintings are reflections where anxiety has settled down, along with the painful processes of a split personality. In fact, the darkest beast lies within us. The most beautiful, even “heavenly” bodies are wounded and, through the mirror of reflection, bestow their questions upon us. It is about images in aversion, whereas faces impose the enormous, or even better, a Medusa-like kind of gaze.

We are unable to escape from the disturbed or upset sight of the figures that Dino Valls paints, these eyes are focused to something that we are yet to understand, as if they expect something from us that we are unable to provide. Their symbolisms constitute allegories of the subconscious, define pulses superficially, allude to the process of transformation, and recapture the meaning of a thought that exceeds the reticulation of the rational.


Experts appreciate his technique and mostly what they describe as “immaculate brushstrokes”, an observation to which the artist responded that it is quite the contrary: “l use my painting to provide darkness, uneasiness, sadness. What I do as an artist is to explore that darkest and unfamiliar part of the human being. My painting is a way to stain the white”.

What he wishes is to penetrate into a darker realm, to reflect the uneasy — under the Freudian concept of the familiar becoming foreign, in spite of oppression — and, finally, to express the subconscious. Oddly enough, this penetrated by anxiety painting is exceptionally beautiful. The conflicts of life are not literally taken, nor do we recur to the rhetoric which characterizes the “culture of protest”, instead our painful condition takes an allegoric aspect, while at the same time a kind of immense power of the symbolic appears, as if art still has the capacity to fulfill an age-old “promise of happiness”.



Degree in medicine, today he is considered one of the most important figures in the visual arts sector in Spain, and representative of a new and intriguing kind of art which is beginning to subvert some of the most cherished assumptions of 20th century Modernism, and which, in addition, radically challenges established notions about what is, and is not, avant-garde.

His paintings on wood, elaborating and expanding the techniques of the old masters, have the human psyche as protagonist. The image is only a formal support to project an interior concept, the darkest instincts are developed in a symbolic intellectual process.


Fernando Castro Flórez
Edward Lucie-Smith





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