Pintura Orgánica de Fernando Ureña Rib

 

AQUEOUS

ABSTRACT

ART MIAMI

GAZZETTE REVIEW

BIOGRAPHY

DANIELLE DEGARIE

DOROTA KOZINSKA

DELIRIUMS OF

LÚDICA

LOWES MUSEUM

ERICK ALLEN

FERTILITY DANCES

GALLERY

marianne tolentino

NUDES

ORGANIC FORMS

SCOTT DUPERRON

STEPHEN D.KAPLAN

 

FERNANDO UREÑA RIB

 

ABSTRACT

AQUEOUS

ART MIAMI

artworks

GAZZETTE REVIEW

BIOGRAPHY

DANIELLE DEGARIE

DOROTA KOZINSKA

DELIRIUMS OF

LÚDICA

LOWES MUSEUM

ERICK ALLEN

FERTILITY DANCES

GALLERY

marianne tolentino

NUDES

ORGANIC FORMS

SCOTT DUPERRON

STEPHEN D.KAPLAN

 

 

OBRA PICTÓRICA

ABSTRACCIONES

AMAZONAS

CRISÁLIDAS

DIBUJOS

FIGURACIONES

FORTUNA

ONÍRICA

LÚDICA

ORÁCULOS

DADORAS

NINFAS

OCEÁNICA

ORGÁNICA

 

CUENTOS

LA INICIACIÓN

CELAJES

MALENANORADA

EL NAHUAL

PULPO A LA GALLEGA

LA PORTEÑA

LA TOSCANA

LA PUTANA DE PERPIGNAN

LA TORRE VIGILADA

LA SOLUCIÓN EN EL OMBLIGO

LA VENUS DE TABOGA

VIENTOS DEL NORTE

LA VINDICACIÓN DE OMAR

EL ABRAZO

 

 
LATINAMERICAN ART

 

ABSTRACTION AND TROPICAL FORMS IN

FERNANDO UREÑA RIB

DOROTA KOZINSKA

Organic Abstactions by Fernando Urena Rib

 

 

 

We observe the transition of Fernando Ureña Rib from a testimonial figurative Art to a surrealistic neo-abstraction Art.

The first method is both prudent and ambitious (never a brusque rupture.) It is a measured experimental boldness absorbed in the next phase. Thus, around 1986, the artist began to reinvent the World of elements, forms and colors fully revealed towards the end of the following year. His exhibition entitled Intima produced a singular impact. Throughout this period of gestation Fernando Ureña Rib appeared to remain faithful to the vibrant, figurative, oniric quality of his human subject and to the expression of growth, expansion and fertility in his vegetal themes.

Here we sense the throb of the "Tropic" (Title of another one of his shows) and it climatic effects on both man and nature.

The poetic texts that introduce his catalogues- poetry is the "Violin de Ingres" of the artist-, among the emotive phrases of anecdotes we find the hidden key to diverse combinations, organized and harmonious, always more committed to imaginary transmutations. In Tropico (April 1996) Ureña Rib says: "One begins to see the mirage, those reverberations of heat which now melt the images and convert them into a volatile, evanescent chromatic shape."

And later (Celajes, November 1996) "The river multiplied and divided the last colors of the afternoon and was converted into an enormous kaleidoscope of liquid and phosphorescent metals." While George Arzeno Brugal justly observed, more directly: " Simultaneously, many of his paintings take up once more the ancient theme of reflecting movement and the displacements of bodies in space."

Through the real imaginary, the painter intensifies, idealizes and converts life into a kingdom o f contemplation; a celebration of the harmony superior to which we live every day. The depth of simultaneities, rhythms, sequences elaborated by Fernando Ureña Rib, and translate the complex interiors of the soul and the many ephemeral impressions that flow in our perception and psychological reactions.

Despite the evident changes in the work of Fernando Ureña Rib, principally in the free and fluid versions of our domestic flora, the exhibition " Intima" with the collection of oils (for he has maintained his affinity for that medium) provoked, at least in us something akin to a shudder. This privileged visual shock, and emotion is more frequently associated with listening to a piece of music. The first echoes of Fernando Ureña Rib's last Metamorphoses which reached us by means of newspaper reproductions, awakened a deep curiosity and allowed us to appreciate the symbiosis of energy and lyricism that exalts the values of the imagination.

Our pleasure was such on entering the exhibition room located on the second floor of the Listin Diario, that when writing our column we could not contain our euphoria: "Is it a risk to affirm that an artist is presenting his best exhibition? It seems no more than a relative risk in term of critical valuation, which aside from that is always subjective of ...if one has knowledge of the artist's trajectory from his professional beginnings. Naturally one speak of the best exhibition to date-the future remains open.- We affirm presenting without reservation that Fernando Ureña Rib is presenting his best exhibition ( Listín Diario, December 1rst 1987) , and one year later we maintain the same preferential criterion. The impact is still as marked in our visual memory as when discovered the esthetic density of that exceptional sequence. Previous to that delight, which results from the individual contemplation of each work, one can be enveloped by the spectacle of the whole.

Evidently the exquisiteness of color -inseparable from the quality of life and form-the synthesis of resonance's, contrasts, tonal subtleties, all converged powerfully into substantial optic repercussions. Jeanette Miller once wrote defensively that "The handling of color and of pictorial material prove secondary to his graphic abilities" (Historia de la Pintura Dominicana, 1979) . Yesterday the lifeline of Fernando Ureña Rib pictorial work was...the line; Today, the richness and delicacy of the palette determine in great measure the melodic line of his paintings. It is possible that the artist consciously or unconsciously could have said to himself: "They have repeated so often than I am a great draftsman-I am going to show them now I am also a great colorist." Further, the initial compositions in the series, dating from 1996, denote an unusual search, tending to "mute" the leaves and stems suggested by manufactured or other manmade objects. They insisted not only on tonal gradations but also on the unctuosity of the paste and on a three dimensionality achieved through chromatic emphasis.

We found then those two elements that are required for the domination of color: The intrinsic beauty of each shade and the harmony, which results from the combination of various colors, enriched by the subtle range of tones.

The common denominator was present in all of the canvases. Some of them in particular intensified the luminous elements, that it was converted into a fascinating resplendence. Although a luminous energy reigned supreme in this show, no fewer notables was the renewed research of form. This aspect of Fernando Ureña Rib's work can be classified as Abstract or neo abstraction, the morphological representative of the known and identifiable World yields to imaginary structures, and the accentuated study of form, color and light.

Transmutations of all kind (from carnal and floral to fruits and the mechanistic) inhabit the atmosphere, this Being either substantial or totally airy. On the bases of this magical iconography, we maintain our initial denomination that this is essentially fantastic and surrealistic.

Today "surrealism" is not equated with a disorganization of the conscious world, but rather with its profound reorganization according to the internal dictates of the Self and the free functioning of the inspiration. It is this reorganization, with its own laws of poetry and harmony that we perceive in the Underworld, Oceans and Apologies of Internal Song. ("Submundos", "Océanos" y "Apologías del Canto Interior")

DOROTA KOZINSKA

 

 

 MUSEUM

 

 

 

 

 

FERNANDO URENA RIB

ART STUDIO

 

 

CONTACT INFORMATION

  

Revisado: May 27, 2013
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