FERNANDO UREÑA RIB

Pintura Orgánica de Fernando Ureña Rib

 

ABSTRACT

AQUEOUS

ARTWORKS

BIOGRAPHY

DANIELLE DEGARIE

DOROTA KOZINSKA

ERICK ALLEN

FERTILITY DANCES

LÚDICA

marianne tolentino

DELIRIUMS OF LÚDICA

STEPHEN D.KAPLAN

ERICK ALLEN

SCOTT DUPERRON

STEPHEN D.KAPLAN

 

 

DOMINICAN ART

 

AQUEOUS PAINTINGS

FERNANDO UREÑA RIB

BY SCOTT DUPERRON

 

 

Organic Forms by Fernando Urena Rib, Dominican painter

NOCTURNO. OIL ON CANVAS BY FERNANDO UREÑA RIB

 

 

In the fluidity of Aqueous we capture the expressions of harmony of humanity with nature unto itself. Luminous underwater visions and organic forms become fused into a type of sensual celebration. Fernando Urena Rib's work over the years have become more and more captivating as he integrates and balances pigments and hues, combining movements with the seamless blending of multiple forms.

Fernando is in his own way, a feminist. Not in the contemporary social sense but in the earthy sense of one absorbed by feminine life forces. The forms and figures are feminine forms that arrest the viewer. There might be nude women floating gracefully about his canvases but there is absence of eroticism. The progressive attitude in art calls for transcendence of the obvious. Fernando's work's, be them graced with human organic forms are wonderful expressions of sensual delight that transcend blatant eroticism and expend into harmonic euphoria.

For over twenty years art collectors from major European and American cities highly appreciate and acquire Fernando Ureña Rib's works, which is an attestation of the quality and maestria of his art work. Every painting is in relation with life and as we all know, all life stems from water. Fernando's Aqueous series of oil paiontings is a magic depiction of the fluidity of existence and of the organic expressions of life.

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 Tropic (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."

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")

Ten years later the roads have been covered, they have been widen and converted into a broad path well trod by work, in searching with success creative new routes. The works of Fernando Ureña Rib characterized by unity and metamorphoses, has the future spread out before it.

Scott Duperron
President of Attache Data-Link

 

 

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