He studied painting and wall coverings. He has been professionally dedicated to painting since 1980. Artistic research has been a constant in his career that has led him to do residences in Morocco, Mallorca, Japan and Sardinia.

 

His works have been exhibited individually in Tokyo, l'Alzina de Ribelles, Sant Sadurní d'Anoia, L'Alger, Barcelona, Girona, Tangier, Tetouan, Mallorca, Vilafranca del Penedès, Capellades and Saint Paul de Vence. Collectively he has exhibited in Barcelona, Berlin, Besieres, Nimes, Toulouse, Lisbon, Rabat, Tetouan, Tangier, Brussels, and Strasbourg, among others.

 

Founding member of the collective of Mediterranean plastic artists Ras El-Hanut (1994) and of the collective Riudebitlles Territoriod'Art (2015). These facts demonstrate his commitment to painting, understanding it not only as a plastic expression but also as a means of social and cultural activism.

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With a predilection for paper, it was not for nothing that David grew up in a paper mill in Sant Pere de Riudebitlles, David Ribas's architectural paintings tend to synthesize spots and lines in favor of structured forms based on colours. A defined palette of earthy colors, Mediterranean blues and intense reds draw organic and suggestive abstract compositions. Often the talented gesture of the artist is combined with the different qualities and wrinkles of the paper. In this way, the support of the work ends up being an intrinsic and essential part of the work itself.

The prominence of the paper element in Ribas's works is not the product of chance. It uses paper that is over sixty years old, material preserved from factories and different paper mills, all of them close to its territory, which since the s. XVIII manufactured this material. In a time of planned obsolescence, David Ribas makes these papers become a support converted into works of art, a declaration of intent?

The uniqueness of David Ribas's work lies in the dialectic between the warm colors he uses (it is quite evident that his colorist proposal is influenced by different trips to Morocco), the geometric abstraction of his figures and the  conceptuality of his work at the moment that he incorporates words and phrases into his works.