The critic Jaume Vidal Oliveras delves into the work of Grau (Barcelona, ​​1951):
Formally, Xavier Grau suggests the American abstract. His appears to be a spontaneous painting, gesture and color. But this is not all, because if the effect is of great freshness and immediacy, at the same time his painting responds to an idea of ​​structure and composition.


 Xavier Grau builds the painting in a process of superpositions: the strokes and the color planes overlap in successive applications so that the final result reveals the different layers of pigment that have been superimposed.

His painting is a succession of skins that overlap; a process of correction or redefinition in which the last trace is reworked by a subsequent one.

Although in his last works a change of direction is observed, until now one of the most significant aspects has been the glazes. And one fact that has not been paid much attention is that Xavier Grau uses painting as a Venetian master can use it. The most important piece of the exhibition, the triptych entitled Trinomio, is an example of this painting of transparencies, nuances, blurring and dissolving materials. In this process of superimposed layers of paint, Xavier Grau dilutes shapes and strokes. Hence the effect of atmospheric depth of some of his works, and hence also that opacity and mystery that his painting possesses.