1980-1990:
Reflection and symbol
However, as he goes ahead, he experiences a need to put some order in all the whirlwind of emotions and feelings. Little by little he incorporates in his works what will be a constant in his evolution as an artist: the permanent reflection in the search for synthesis, the most elementary subtlety. In a very obvious tendency to constructivism, already in those days, he exposes at Galeria Trece (Barcelona 1980). In this works, Ventós, introduces another element that will be present in all his works: the use of the symbol (in this case a playing card) a substantial principle of his language.
A different geometry
Afterwards, the sea: the boats, the collages with wood, and, above all, the Mediterranean colours, clean and transparent. Now and then, some figurative outburst claiming the marine from the sea (“Viatge imaginari”, Galeria Cadaqués, Fundació Miró, 1984, together with poems by Joan Simó. This collaboration will continue in other works). The new paintings by Lluís Ventós show a certain geometry (that with the passage of time will acquire consistency as a characteristic trait of his painting) with delicate suggestive vanishing points, existential: a personal and intimate contribution that breaks the rules often established in the concrete art, adding a humility far from any dogmatism.

New ways of expression: sculptures on glass and iron...
This is a very intense period. The exhibitions take place often (Lleida, Port de la Selva, Sitges, Barcelona, Madrid, Florence, Ibiza, Paris…), but Ventós does not stop his restlessness to experiment new ways of expression. He has already discovered the glass and this has allowed him to enter a new world. He engages immensely in the rituals of the transformation of the matter. (“Maresia” – glass - 1982, 1983... “Els vents” – iron - 1989...)

 

1990-2005:
Emotion, experience, as vehicles of communication.
Towards the end of the eighties, in Catalonia starts a serious crisis in the art sector, together with a high level of speculation in art. In this context Lluís Ventós rethinks his role in the dynamics that he has always tried to avoid. He sees very clearly that he has to define objectives and establish the adequate means to be able to accomplish them. And the intuitive Ventós, the Ventós nonconformist in a maturity process goes back to his roots and clings on to the conviction that it is mainly necessary to transmit experiences, real and near emotions.In the same way that the admiration for the ship’s carpenter gave predispose him to work on wood, and the family tradition in the perfume sector influenced his experimenting with glass (non-manipulated claim of design in the field of perfumes – Maresia III, Maresia IV, homage to René Lalique -), now, intuition – the eternal intuition – and fidelity to the origins, lead him to recover one of his teenager myths, the tale by Thor Heyerdahl about the Easter Island.