The artist Antoni Miró mainly tackles his creativityin series of long pictorial journeys. He delves into his interests by constantly looking in sources of varied semantic contribution. The concepts used to express his informative universe are diverse, as also time includes a great part of his pictorial-poetic work.
Born in Alcoy in 1944, (Valencia, Spain). His vast work is present in numerous museums and collections all around the world, and has been analysed thoroughly in the extensive bibliography that accompanies and studies it. Some of the adjectives that may describe the artist are as follows: self-taught, tireless worker, simple, fighter, committed, supportive, friendly, imaginative, communicator, reflexive, calm, methodical, artisan, patient, nonconformist, plastic chronicler, agent, concerned, critical, restless, ironic and, especially, a painter passionate about the world of the art. He is a big defender of humanity, by which he has always made the maximum effort in favour of equality and fraternity.
The vital process, series
- El procés vital Sèries I
- (1972) Amèrica Negra
- (1974-1980) El Dòlar
- (1980-1991) Pinteu pintura
- (1991-2001) Vivace
- (2001-2012) Sense Títol (S/T)
- (2012-2015) Personatges S/T
- (2012-2015) Mani-Festa
Antoni Miró strives in the eloquence of the iconic resonance that adds to the ultimate truth of daily information last truth, an extra sensorial world where memories are kept, or impacts are received from acknowledging the truth without preliminary filters.
1974 - 1980
A symbolic identity established in this pictorial seriesembraces the need to draw a solid positionthat consolidates the metaphor on the strengths resorted by evil. An almost arcane drawingthat illustrates the first matter of the creative bonds of the author-painter with the condemnation of other sources of slavery.
1980 - 1991
A critical reflection on painting, or on the margins where that art is limited to, without prudence, the milestones of History of the Art. Humour, irony, and even the sarcasm, happily find comfort in this particular way that Antoni Miró has of observing the creative speech throughout the times. His work leavemuseums, and are fostered by the enormously effective life and hope.
1991 - 2001
Asepsis does not tighten bonds. On the contrary, the series Vivace exhibits all sorts of relations with dense foliage that derives from mass media. Poetic sayings mix according to the expositive maximum of the embezzled objects of reality. They invest the reasons of condemnation in favour of social cause, apparently aestheticNature reverts itsforms to a second level, and reachaggression, but also desire, in languages, attentive to wide pictorial transcript morphologies.
Sense Títol (S/T)
2001 - 2012
During a quite extensive period in his artistic career, Antoni Miró builds a long series of works with the common reference of Sense Títol (Untitled), with a clear ironic intention, where form and colour deliver an intense profusion of documentary aims. The painter attendsto the strategic denomination of his compositions, on this occasion, and by semantic elevation, does not conceive the significant ascription as a concrete state, and on the contrary insinuates the exact inhibition of the complex connotative field. And in this series, there are subseries that expand the spectrum in the semiotic of the representation. Variables that attend to the different centres of interest of the poet-painter, and to the well-intentioned reading of the the proposals.
2012 - 2015
This new facet of portrait painter, Antoni Miró, is not a simple gallery of characters whose voice has heard, or echoed, with special emphasis on social fields. However, it isthe voice of each one of the “characters” that joins the senses of the painter, who expresses them in art. A virtual “regatino” takes over viewers’ gazes, with the aim of searching for signs that lead to the naturalness of beliefs. The artist nourishes all these voices, of all these faces that shape the belong to some ideas and to some very specific causes, always neighbouring the term freedom. The characters are an industry of emotions, memories, experiences, longings, ascription to the ideals of the full culture full of truth and without contemplations. Paintings and portraits that caress terms of patriotic loyalty. When the homeland is translated into a language and an essential culture, and always like vehicles of incorruptible vicinity.
2012 - 2015
Mani-Festa exhibits, in almost all of the proposals, a highly exciting look. And it is exciting because it registers a reality, where vulnerability of the audience transmits society’s deception that has withered any hope. A society where comedians threaten the compulsive outcry. And those who have been evicted are the last verdict of the cause of money, the result of unfair capital that lives off corpses, each day, and every time it happens.
Brief studies, Josep Sou
The work by artist Antoni Miró is associated, from the creative logic of his aesthetic corpus, with the instruments that facilitate his full understanding: thinking, conceptual space and the internalisation of culture as the main axis of an ethical commitment. In the brief studies proposed, the convergences that be established between the painter Antoni Miró and intellectuals that have resulted in essential milestones in the future of the critical reflection at anytime of the history.
Antoni Miró: the strength of the Kantian analysis
The Kantian Categorical Imperative, in its three formulations, highligs the fact of reaching the universality of behaviours or works carried out by human beings because of the fact that humanity has always been treated as an aim and not as a means. It is also highlighted the fact that purposes need to be universalised so man can attend the reasons for his being in society. What do I have to do? What can do? In the first case, we find the answer in the moral sense, and maybe then criticism, with the intrinsic value of analysis, answering the question with some accuracy.
Antoni Miró: the grooves of Bertolt Brecht
The dramatist and German poet is characterised, among others, by his commitment to society to which he belonged. Political commitment, social and also aesthetic. He promoted the distance of futile, superficial or anecdotic things, in favour of intensity in the contemplation, and by taking a belligerent position on the part of the viewers. A distance that accelerated the critical consciousness of receptors, and also the actors, moving away anything irrelevant and unnecessary sentimentalism away.
Referents of identity: V.A. Estellés and Joan Fuster. The coherence of Antoni Miró
The poetic voice of V.A. Estellés exerts, as much as the philosophical-conceptual thinking of Joan Fuster, an enormous influence in the Valencian society in recent times. Both creators and characters illustrate the Catalan culture, they are a referent of identity for a lot of generations of intellectuals, due to their the rigor and affections, as well as the strength of the differential fact of their own culture. The poets’ versesencourage substantial ascription delving into the collective feeling of the contemporary society: the importance every culture has which is its language. We choose some of the verses written by Estellés in El big foc dels garbons which denotesthe strength of the word in the preparation of memory for a collective future: “dipositem, sobre la taula, mots, /els documents gastats de la misèria,/la identitat en digitals febrils.” [we leave on the table, words/ documents used in misery,/ identity in feverish digitals.”]
Antoni Miró and the sense of the trip
As Homer, like an odeseey in the enneatype of Personality, arrived to the country in where there is permanent light, like this Antoni Miró builds his work at night, using the necessarylight, already embezzled by the daylight The pictures reverberate and elevate the synthesis of his deep thought.
Construction of the History: A. Miró with Bergson and Proust
If for Bergson history are the villages’ actions for freedom, attending to the intrinsic value of spirit in favour of creativity and against reductionism, Antoni Miró also devotes a good part of his creative effort to defend freedom or, rather, freedoms. A historyof Antoni Miró and the one of his pictorial work, that leads to the meanings through the connotative constants. a distinctive universe arises from the symbolic language and opens ways without need of eccentric hyperboles. The history towards freedom, or time detained, only for an instant, to facilitate analysis or maybe favour the commitment of the receptors of the creative reflection.
The music and Antoni Miró. A sensorial reinforcement
Not only the metaphor of the sound of brushes seething the territorial surface of the picture, no. Sopalmo: house, paradise, museum, agora, the city of the meetings, and so many more things, is a discern of classical music, of constant presence and endless complicities. The painter, the artist, the creativity, listens to music which enhances the atmosphere of his study, and giving him to ideal surroundings to draw worlds without limits.
Antoni Miró: de Gades a Sol Picó
The dance. The hands that break the difficult balance of the air when resting suspended on the stage. The impulses that describe the same essence of the emotions. And the look crossing the burning light, because wishes made from the love towards art balances in thei gazes. It tells us everything. Everything is expressed. When Antonio Gades tbuilds the arches of mystery with a sweaty torso, Sol Picó sinks its feet in the same roots of a powerful wild cactus, or flies incorporated on the metamorphosis feline. Because passions explain, above all, stories, the spirit of artistic communication.
A huis clos: naturalism in Sartre and Antoni Miró
A happy coincidence resulted inthe French dramatist to write his work A huis clos in 1944, the year of the artist Antoni Miró was born. And what seems to be, or is, a mere coincidence, also transcends to the field of the aesthetic-conceptual positioning. Sartre establishes the existentialist poetics of this theatrical work with the determination to make the viewers the protagonists of the reflexive experience. The action of the characters culminates in the gaze of another, in the occupation of a space reduced and almost impassable, l’enfer c’est les autres. At the same time, and under the aesthetic prism of the painter Antoni Miró, his innumerable proposals in the social space, allow interpretation, after the constant interpellation of the viewers regarding the creative cause. The look of the painter and the dramaturgy of the writer affect and need the contest of the viewer, to close the communicative experience.
«Vida y obra, una misma identidad » Antoni Miró’s career
Work with love, do not justify yourself, because any justification erases the intimate and true reality. Work with passion, with dignity, also with perfection, or do not expect nothing, then the life is this... Work. Only a man who works and thinks in his work being useful for others, is truly human.
Others wrote about Antoni Miró
In this gallery of authors, that have exerted the critical reflection on the work of the artist Antoni Miró, we find, firstly, fragments of his works, as well as, in second instance, the complete texts. Also, finally, the works that the authors have had along the time, and of the direct contact with the work of the painter.