Jose de Castro Arines

Antoni Miró’s name sounds to me almost frenzied rather than active in the daily chronicle of our art nationally and abroad. His activity boosts greatly in the most diverse tasks so that his artistic fondness is alike representing forms of my own artistic attention, always in my mind, always news of my own news. When I critically approach them, I say, or I have reviewed, that Miró’s inventiveness –painting, sculpture, ceramics- is full of life even having at times an excessively changeable discourse. And, what I enjoy the most is called the painting of "humanism" and his sculpture whose effect and aspiration, through its moral deliberation, I approve. Nevertheless, in my opinion, the most remarkable of this man is his insatiably need to know, his watchfulness to the formal demands of art as a meaningful form of our life which he wisely represents in his restless, critical and premonitory universe whose aspirations I celebrate with great pleasure.