The poetry of the spatial relationships between simple elements located in a pictorial field is converted into an aesthetic feeling. But Llucià, of course, does not encounter the structures of repetition in any unilateral way. His work from 1957 to the present marks a series of different directions, united by major affinities of feeling, but fundamentally distinct in terms of orientation, concept and technique.
[…] An enemy of confessions and Romantic effusions, Llucià nevertheless injects a bristling sensibility into his brushmarks and scorings, and even into the surfaces of the zones, which never have the coldness of the “art of the draftsman,” although they do have the coldness that comes from the silver colour: that light of a winter morning, crystalline and tremulous, a little sad at bottom, but sustained.

Juan Eduardo Cirlot, 1960