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I am the son of a post-impressionist painter, and began training with masters of traditional plastic painting and continued drawing until I was reaching my twenties, at which point, I started questioning everything I had learned, to come back to them later on with contributions that enrich the plastic and pictorial languages.

As if the history of art was a pendulum, my generation returned to the figurative elements in their works as we had things to say and social demands to make. It was a good way to bypass censorship while stating a message contrary to the regime, through recognizable elements opposing the prevailing informality of the fake left wing. This generation is the one that corresponds to German expressionism, English pop, and Italian transavantgarde, which we call new figuration in Spain.

I lived on a constant move between the U.S. and Spain, between New York, Soho, East Hampton, Miami, Barcelona, Mallorca and Sant Martivell. My work was always influenced by the place where I was, and my evolution was a constant change, like a chameleon that changes its color all the time.

With a desire to find something new, I always combined painting with sculpture, my works and pictorial iconography would not be complete without all those periods of ceaseless sculptural pursuit, that have somehow culminated in "Lines in Space" and the "Stargazer".

I am interested in figuration, but not realism, to say things in images but not to compete with reality. Among many other experiences I have gone from conceptual art to the negation of painting, filling spaces with stripes, and to return later to paint for the need to say things. I took many photos, but I was never interested in it as a means of expression, as if I had sensed that one day I could paint something different, something unknown.

There are many things and many changes, but of all pictorial moments, none will be as important as the experience I had in 2009, in Fortaleza, Brazil.

Robert  Llimós