Having previously obtained a degree in medicine, he is now one of the Spanish representatives of the vanguard of figurative art. His painting, elaborating and expanding the methods of past masters, centers on the human psyche by using figurative techniques only as a formal support in which to project a conceptual content laden with profound psychic weight, where the most obscure pulsations develop in a symbolic process of intellectualism.
His first one-man exhibition was received in Zaragoza in 1981. The following year he was awarded the San Jorge First Place Award in Painting, after receiving his degree in medicine and surgery in 1982, he decided to devote himself exclusively to painting; the kind of painting which would be influenced by the humanistic perspective that brought about the study of man. This kind of attitude is reminiscent of the creative climate of the Renaissance.
Art is the only medium which allows man to unite his logical thought and his magical thought, redeeming him from the profound dichotomy which exists between both. Curiosity incites us to step out into the field of logic, raising our gaze beyond what may be recognized. This may be the point of inflection which leads us unreality in Dino Valls' painting. The gaze discovers the painting and this reveals what we only know intuitively: the irrational. It is during our attempt to rationalize it that the conflicts arises, originating in our collective cultural unconsciousness, which scientific research continues to try to unmask. Just as dreams disguise themselves as reality to make themselves recognizable for the consciousness, Dino Valls' painting conceives his artistic ideas based on the artist's interior unreality. Neither realism as naturalism, nor a fleeting personal view of the real world concern him. It is not the exterior and its objective reality that attract him, but rather the contrary. This is a search inside oneself, plunging into the warehouse of what underlies everyday experience. In his work, the painter reveals these profound conflicts, and the spectator recognized them as part of his internal struggle, as they belong to the same human essence.