PEDRO MUIÑO, (A Coruña, 1954)."Composition", 2003.Silkscreen on paper. Copy 5/50.Signed, dated and numbered in pencil.Measurements: 31 x 22 cm.Vigo, Trujillo (Venezuela), Ferrol, are vital places of his childhood and adolescence. A Coruña, where he studied Nautical Studies, was the place where he began to fully develop his pictorial vocation; in the 80s, he took part in the movements, exhibitions, workshops and collaborations that flourished with such vitality after the establishment of democracy; together with other artists from A Coruña, he founded the "Gruporzan" collective. In 1996 he moved to Catalonia where he lived for a couple of years, later settling in Alicante, where he currently lives.Since his first solo exhibition at the age of 17, he has had around forty solo exhibitions in A Coruña, Vigo, Ferrol, Madrid, Bilbao, Santiago, Barcelona, Valencia, Miami, Murcia, Alicante and numerous group exhibitions in Spain, France, Belgium, USA and Portugal.In the 1970s, his work began with a surrealism with hyperrealist connotations, a surrealism that would remain latent throughout time and would periodically emerge in different forms in certain periods of his work.The drift in the 80's towards an Atlantist figuration and at the same time an Italianised and mythological one, will leave a symbolist aftertaste, which will remain evident in his later work after the abandonment of figuration towards a much more "psychic and introspective" work, a vital space in which he will move from the beginning of the 90's, until the present day, with the natural evolution of the convulsive character of the author's work, always in a struggle between his natural baroque style (undoubtedly originated by his childhood spent between the interior of Venezuela and Galicia, with its pantheism and explosive natural richness with its consequent impact on the author's retina) and the aesthetic and conceptual need for cleanliness and simplicity.The drift of his work has always maintained a very personal cosmovision, keeping out of trends and fashions, which has led some critics, in their eagerness to classify the author's work, to do so in an inaccurate way.His current work, which could be relatively freely defined as "black series", on which he has been working for the last few years, has its origins in series from 1994, 1996, 2001, works that were not shown to the public, that type of work that remains in the studio and that eventually emerges and ends up consolidating itself.