FERNANDO UREÑA RIB

 

DEL LIBRO DECIR LA PIEL

 

CUENTOS

DEL LIBRO FÁBULAS URBANAS

ARTISTAS DOMINICANOS

ADA BALCÁCER

ALBERTO BASS

ALONSO CUEVAS

AMABLE STERLING

AMAYA SALAZAR

ANTONIO GUADALUPE

ANTONIO PRATS VENTÓS

ANTONIO TORIBIO

ASDRÚBAL DOMÍNGUEZ

AQUILES AZAR

AURELIO GRISANTY

BELKIS RAMÍREZ

BISMARK VICTORIA

CÁNDIDO BIDÓ

CLARA LEDESMA

CARLOS HINOJOSA

DANILO DE LOS SANTOS

DANILO GONZÁLEZ

DARÍO SURO

DOMINGO LIZ

DIONIS FIGUEROA

DIONISIO BLANCO

DIONISIO DE LA PAZ

DUSTIN MUÑOZ

ELSA NUÑEZ

ELIGIO PICHARDO

ELVIS AVILÉS

ELIU ALMONTE

ENRIQUILLO RODR{IGUEZ A.

FABIO DOMÍNGUEZ

FRANZ UREÑA RIB

FREDDY CABRAL

FREDDY JAVIER

FREDDY RODRÍGUEZ

GASPAR MARIO CRUZ

HILARIO OLIVO

INÉS TOLENTINO

IRIS PÉREZ

IVAN TOVAR

JAIME COLSON

JOSÉ CESTERO

JOSE FELIX MOYA

JOSÉ GARCÍA CORDERO

JOSÉ PERDOMO

JOSÉ RAMIREZ CONDE

JOSÉ RINCÓN MORA

JUAN MAYI

JOSÉ PERDOMO

JOSÉ VELA ZANETTI

JOSEP GAUSACHS

JOSÉ SEJO

JORGE PINEDA

JORGE SEVERINO

JUAN MEDINA

JULIO VALDEZ

JULIO SUSANA

FERNANDO VARELA

FERNANDO UREÑA RIB

FERNANDO PEÑA DEFILLÓ

GASPAR MARIO CRUZ

GEO RIPLEY

GEORGE  HAUSDORF

GILBERTO HERNÁNDEZ ORTEGA

GUILLO PEREZ

LEON BOSCH

LEOPOLDO PEREZ (LEPE)

LEOPOLDO NAVARRO

LEO NÚÑEZ

LUÍS LAMA

LUIS MARTÍNEZ RICHIEZ

LUÍS MUÑOZ

LUZ SEVERINO

MANOLO PASCUAL

MARCOS LORA READ

MARIANELA JIMENEZ

MARIANO ECKERT

MARIANO SANCHEZ

MANUEL MONTILLA

MAYOBANEX VARGAS

MIGUEL NÚÑEZ

NELSON CALDERÓN

NORBERTO SANTANA

OCTAVIO PANIAGUA

OCTAVIA ROGER

PAUL GIUDICELLI

PASCAL MACARIELLO

RAÚL RECIO

RAHADAMÉS MEJÍA

RAMÍREZ CONDE

RAMÓN OVIEDO

RAQUEL PAYEWONSKY

ROSA TAVAREZ

SHUM PRATS

SILVANO LORA

SOUCY DE PELLERANO

QUISQUEYA HENRÍQUEZ

TONY CAPELLAN

VICENTE PIMENTEL

VIRGILIO GARCÍA

YORYI MOREL

 

 


 
 
ARTE DOMINICANO

 

RAHDAMES MEJÍA'S

CREATIVE FULFILMENT

 

 

 

 

 

 

 

In his more recent works, Radhames Mejia reveals a new aesthetic relationship. The plasticity of the materials, dense, faithful and febrile emits vibrations that surge forth like an unending echo of a cry, from the times of Antiquity. A cry, which is all the more prolonged and subtle as the seeing eye is missing. Absent and useless before an omnipresent sensuality.

The aesthetic edifice of this painter is born of thick rounded forms whose enigma could but lead to their being split open, separated. Today Mejia imposes nuances. Nothing is left to hazard and even the smallest section is delicately limited. What in the past was a fetal mass or lunar brightness has become object or animal, to the extent of pressing the highest degree of metamorphosis into service, unfolded in careful sequences, so that the imaginary becomes one with the creative act.


In a succession of ensembles his evolutive and synchronized geometries give form to the work and the mass in movement engenders the provisory shape. The roundness of the bird already announces the stretching of the fish. The instantaneous folding of the snail flattens out into salamander or scorpion: animated shapes moving surely forward to begetting the being. The being, still alive and blind, breathing on a red, fuchsia, orange, yellow or blue background, bright colours of life and the light in a world where shadow threatens truth.


Mejia a language of plasticity and a technique in which the play of light softens the violence with copper, gold and silver pigments which can better project the reflection of the paint on the canvas. His work unfolds like a journey, which leads us from the closed to the open, from the reduced to the open, from the reduced to the enlarged. All the shapes undergo a transformation, which becomes progressively clearer, much in the way a silent movie does when speech is found in the new version. The masses move like a procession of signs, becoming stems, fingers, adolescent penises on the roadway of wonder and amazement. The rounded shapes move towards coherency, the imperfect circle becoming the shell of a turtle and the apple, strangled in its mutation into the pear, become, without emphasis, a mask, a hood, and the face of the painter himself.


It is a question of becoming, the dynamic of this artist who suggests the being that dwells in him and haunts him without ever revealing itself because it is not yet ready to be born: the triangle skull reigns and waits above organic elements. The stiff open hand hopes to join itself to the limb. More and more a triangle wanders, clearly outlined with slightly dotted lines, but kept within the space. Mejia builds up his sequences on a white background where a multitude of chaotic squares and rectangles enclose the subject, leaves or flowers, which represent precious sap. This ensemble of blended ensembles begets the earth in space of heaped bones in which simmers all fertility. This is portrayed simply by some figurative touches as if we were between dream and reality. The organic moistness of fecundation is experienced in an intimate temperature of warm haunting colours.


All this working of materials, this mixing, this blending this emanation of substances, this profusion of chromatic sensuality, the result of all this experimentation, can only lead to ecstasy. Of this symbiosis the form will at last assume the mark of the human being until, finally, the artist becomes the master of his creation. Mejia has lived for several millennia in this magic alcove, like an Assyrian sage, a priest of Mesopotamia, but also like an untiring Ulysses, a visionary of space.


To arrive at the decomposition and the reassembly of ensembles, Mejia has decided to reconstitute the subject. Man and woman appear on the stage of life, ambiguous figures taking on the appearance of Mejia, the sex carefully kept within the pubic triangle, tabernacle of secret pleasures. The artist continues his painting with a methodical awareness full of sensual delight and elements that come to add themselves to the original. Out of the sign, the code and the shape, the subject emerges, always the same becoming the other, softly, slowly in a long process in which the unconscious takes over from memory.


This artist, a native of the Dominican Republic, has his rightful place in a contemporary art. If there is a world, then the “world” of Rahdames Mejia is certainly part of it. Some write or say of Mejia that he is a repository of primitive art, African and figurative art. Taking into consideration references which are always facile and dangerous, his works certainly do confirm that the human being is heir to a past and future. The artist is well embarked along the universal way; so the reference can only suggest that he is part of the inspired adventure of those beings that are imbued by the obsession to create.
The twentieth century, privileged ground for all the audacities of contemporary and experimental art, has honoured us with a new generation of painters who come from elsewhere, charged with words, noises, sounds, lights, pains and dreams. They constitute no school, nor do they publish treatises, but remain genuine and honest, bearers of a legend, a tale, but also of a history – their own, ever ready to move, to change, to answer the call, and, like their own lives constantly on the move, in search of mystery and secrets.


This elsewhere is more distant than a simple geographical position, further off than a static landmark. An elsewhere of the unconscious, revealing itself little by little, and thus engendering the endless voyage. The intimate voyage of constantly confronted sensations and emotions, for the encounter, the shock of impact, are inevitable. It is from just such experience that the work of art is born, art bearing even more the mark of genius. Did Gris, Picasso, Braque, and so many others, who came from elsewhere, not leave their mark on this century ? The work of Radhames Mejia is profoundly essential in this stirring up of our senses, but also for all that it implies of life and energy, precisely in its capacity to shake up and provoke the abstract in all that it retains of death and inertia. The essential dynamic in the works of Radhames Mejia is already a necessary part in the Renaissance of contemporary art.

 

FERNANDO UREÑA RIB

RADHAMES MEJIA
BIOGRAPHY


Born 1960, Santo Domingo, Dominican Republic

EDUCATION

1984 -1986 L’école Nationale Supérieure des Beaux-Arts de Paris, Paris, France
1974 - 1979 Escuela de Bellas Artes, Santo Domingo, Dominican Republic

SELECTED SOLO EXHIBITIONS

2001 Galeria Lyle O. Reitzel Arte Contemporaneo, Santo Domingo, Dominican Republic
2000 Museo de las Americas, San Juan, Puerto Rico
2000 Galerie Demanie-Fardel, Sanary-sur-Mer, France
1999 "Série Masque-mas-cara," Galerie Fardel, Le Touquet, France
1999 "Mac 2000," Espace Eiffel-Branly, Paris, France
1997 Galerie Fardel, Le Touquet, France
1997 "Siluetas Ancestrales," Museo de Arte Moderno, Santo Domingo, Dominican Republic
1994 Galerie Le Soleil Bleu, Versailles, France

SELECTED GROUP EXHIBITIONS

2000 "The International Biennial Print & Drawings Exhibition", Taipei, Taiwan
1997 "109 Biennale," Espace Eiffel-Branly, Paris, France
1997 "Presencia africana en la cultura dominicana," Centro Cultural Espanol, Santo Domingo,
Dominican Republic
1997 "Transafrican Art," Orlando Museum of Art, Orlando, Florida
1996 "Istanbul Art Fair," Istanbul, Turkey
1994 Galerie Got, Paris et Barbizon, France
1994 "Salon d’Art Contemporain," Dammarie-les-Lys, France
1994 "L‚Art s‚affiche (event sponsored by Avenir and Objective Art)," Paris, France
1994 "Salon d‚Art Contemporain «Itinéraires»," Levallois-Perret, France
1993 "Triennale des Amériques," Maubeuge, France
1991 "XIII Biennale Méditerranéenne d’Art Contemporain," Nice, France

SELECTED AWARDS, GRANTS AND HONORS

1998 Lauréat au concours international d’Art Contemporain organisé par Michelin à l’occasion du centenaire du Bibendum
1994 Honorable Mention, Concours Salon d’Art Contemporain, Dammarie-les-Lys, France
1991 Mention d‚Honneur, Concours Fortabat, Maison de l’Amérique Latine, Paris, France
1991 1er Prix XIIIème Biennale Méditerranéenne d’Art Contemporain, Nice, France
1989 1er Prix de Lithographie, Ecole Nationale Supérieure de Paris, France
1981 1er Prix de Dessin, Premio E. Leon Jimenez, Dominican Republic
 

 

FERNANDO URENA RIB

ART STUDIO

 

 

CONTACT INFORMATION

  

Revisado: May 18, 2013

 

 

FERNANDO URENA RIB

ART STUDIO

 

 

CONTACT INFORMATION

  

Revisado: May 18, 2013

 

 

 

 

 

 

 

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