These new works are a further step in the evolution and trajectory of the author, in his claim for the independence and freedom of his craft and his willingness to practice a paint governed by their own laws and, due to their specificity, as a means to achieve and create a universe of pictorial self that makes possible the encounter, dialogue and the exchange between the artwork and the viewer; between the artist and the society to which it belongs.

The relationship between the abstract language of the paint Broto and the capacity of their works to generate and transmit associations, ideas, and emotions have been treated by the majority of critics, essayists, and poets who have gone to unravel his work since the mid-70's.

Juan Manuel Bonet, in 1981, in the catalogue of the first solo exhibition of Broto on the gallery Maeght, Barcelona, wrote:

“Without going into what are the peculiar relationship between painting and poetry, it is true that, if a box we say that is born of a lighting poetic, and, more specifically, of a lust lyric, we understand.”

The artist and critic Javier Rubio Navarro described as well in 1988 in the text of the first exhibition of Broto on the gallery Loneliness Lorenzo:

“This painting makes you dumb, but surrendered unconditionally”.

In 2022, the poet and essayist, Andrés Sánchez Robayna, in the text of the catalogue of the current exhibition of Broto, writes:

"What we had not agreed that the abstract painter, you want to get away from the objects and always aspires to create, first of all, rhythms?"

It's true —I answer— provided you admit that these rhythms can drag with objects equally, as if in their navigations, in his wandering through the cadences and rhythms, these rhythms imantasen certain elements, parts, bodies that may not waive in any way to your condition of an object. And we recognize them as such.”