Reviews by Art Critics

In his studio, located in the heart of Girona’s old Jewish Quarter —in a kind of addition to the family home reached by means of a narrow secret passage—, Corominas uses multiple formats to unfurl a creative adventure usually associated with a specific type of painting rooted in abstract expressionism but which, in reality, is only a version of the open dispute that the artist maintains with form and colour: the canvases and stretchers can be minimised in favour of the three-dimensional bodies that proliferate in apparent volitive anarchy and these, in time, can be silenced by the voices that flood out like an uncontrollable torrent from the hundreds of books, notebooks and pads and discarded papers.


Eudald Camps, excerpt from the article ‘COROMINAS: essència de paper’, 10 October 2011

His paintings continue to be “an explosion of colour and forms generated by an intense need to live and a profound capacity to create”, as Jordi Falgàs wrote in 1991, because this is an incontestable premise of his being and of his work.


Daniel Giralt-Miracle, excerpt from the catalogue for the exhibition at Galeria Presenta, Girona, 2009

The importance of his paper treasure cannot hide the multifaceted personality of this man who knows how to represent the world with the objects he finds, nor eclipse the contribution of the artistic work that is a natural continuation of the obsessions of his childhood. Freed from obligations, passionate, insatiable, free and light as a child or a magician, Corominas knows how to conjure up all kinds of wonders with his magic wand.


Antoni Puigverd, excerpt from the catalogue ‘Tresors de paper’, 2008

Corominas gives free rein to colour. His ‘Retaule d’estiu’ is filled with very bright colours. We can imagine finding ourselves immersed in nature. Although the first impression is of a mishmash of colours, looking more carefully we see that there is a clear intention to provide order. Black strokes raise the construction and impose order on the whole picture, without altering the freedom with which the red, yellow, green, blue and white have been used, reconciling the “outburst” and the “sanity”. We dare to see this tableau as an image of the land in which Cap de Creus is the beginning and end.


J. Corredor Matheos, excerpt from the catalogue for the travelling exhibition ‘De Cap de Creus a Cabo Fisterra’, 1998

With rhythms of different intensity, the painter has shaped a language that is more complex, increasingly powerful and newer every day. Today his painting is not easy to interpret if the aim is to understand everything, because each one of his canvases is a thick chapter carved out from a great story…


Jordi Falgàs, excerpt from the Galeria Àmbit exhibition catalogue, Barcelona, 1990

At this moment everything is more thought out, constructed, articulated. Corominas imposes a discipline of sensitivity and of his expertise that allows us to discover the mature work of a painter who takes pleasure in pictorial work, in its infinite possibilities for research.


Daniel Giralt-Miracle, excerpt from the catalogue ‘Corominas, pintures 1980-1989’

In some themes, the figuration appears as an original composition idea, but the power of the brushstrokes (gesture) and the colour (form) make him lose sight of his initial intention. We could say that he uses it without truly wanting to portray it, as he leaves no apparent figure and what remains suggested is concealed or splattered. By deforming the initial idea with a result conditioned by the explosive interweaving of colour, the morphology of the colour and the energy it gives off are fundamental, as is the post-Matissian reference of drawing in colour. Corominas states that his painting is the mirror of his life and, in that sense of his most intimate experiences, of an intuitive and emotional retreat, we would arrive at a great piece such as Berlin Blue Night, where the emotional effects of a ‘moment’ are projected in a figurative game that goes from figurative to abstract.


Glòria Bosch, excerpt from the catalogue for the exhibition at Galeria Dau el Set, 1983

The work of Corominas is a constant madness; a restlessness that covers the entire artistic space. The broken and defiant colours that begin structures that remain always unfinished, leave open, albeit in ruins, the psychic interiors that surround us.


Arnau Puig, excerpt from the article ‘Tres pintors gironins a Barcelona’, Punt Diari, 1979