Joan Àngel Blasco Carrascosa

[...] At times, juxtaposing personalities, other times, superimposing objects, or alternatively isolating fragments; the author of these plastic inventions gives rise to a game in the spectator, optional in its device. The composed strategies thought up by Antoni Miró, which affect both the morphology and the syntax of the image, are varied; sometimes, with the reflection, they stem from an image based on himself, he is applying the «principle of the mirror»; in others, enlarging, reducing or lengthening, by means of deformations, objects or people, he brings us new «readings»; and, finally, recurring to superimposition, parallelism, coercion or inclusion, he goes on searching these adopted images, which in the first place, constituted the central leit motiv of the composition. [...]