'Although some scientists have mentioned the existence of multiple dimensions (some of which are hidden), we usually talk about a universe with four dimensions: three spatial and one temporal. All of these dimensions can be applied to and recognized in a photographic image. The planimetrics of the photo capture the first two: width and length. The third dimension, volume or thickness, can be seen in the depth of the field. The fourth dimension, the temporal one, is totally apparent not only because every photographic image is of the past, but also because photographs remain the same, regardless of the changes their subjects may go through over time.

In Roberto Lombana's photographic works, this four-dimensional interaction plays a crucial role. For example, in some of his works Lombana focuses on places in which art and history are the protagonists. He uses wide-angle ... lenses to review, from a modern perspective, spaces and constructions that may have already fulfilled their function and that are more memory than expectation. However, these memories are enlightening and reinforce trust in man and in reason.

In his latest work, Roberto Lombana makes another kind of reference to time because, although they are a record of times past, the special effects that he is able to achieve through digital manipulation, as well as the advanced technology that can be seen in some of the spaces and subjects depicted, turn his photographs into futuristic statements. These works hint at a future with rapidly advancing technology that can be fascinating and unbearable at the same time.

...The repeated images are placed in a circle, like a mandala. They are a symbolic representation that seems to convey how important it is for humanity to have harmony. In some of his images, he photographs buildings using low-angle shots and repeats them in circles too. The blue in the sky plays a central role, regardless of how cloudy it is. This is a clear example of all of the esthetic considerations that his images carry, whether they refer to past achievements or to his visual premonitions and conjectures about what is to come.' Eduardo Serrano, curator and art historian.