Stadium of the mirror
Lacan does not hesitate to determine, from his declared following of Freud, that the world of dreams is also a world organized from language. A language that is built with the observation of signifiers and meanings, placing his study on the path established by the structuralist Saussure. And Lacan argues in favour of the construction of the self through the image of the other. We see ourselves in others, and establish a channel of conduct in the contemplation of those around us, assuming our essential growth in the reality that surrounds us.
The painting of Antoni Miró observes us, tells us and feeds back into the construction of a collective conscience. In the comprehension, all of a universe of social discourse underlies the evidence that calls us from the pictorial proposal. The compositional elements of its creative language coincide with the articulation of the verb "to stimulate." The signifiers would be the situations of critical denunciation, the meanings would bet for the particularity that the declared denunciation establishes in each of his canvases. Thus, the world of the worlds.