Page 411 - Arte e Historia
P. 411
Art and History
at the Banco popular dominicano visual arts collection
the Marella’s universe as restless and ludic; fatties (men acrylic/canvas, 115x97 inch., 1987 v «Submarine Dreams,» oil/
and women), unrelated to some other cold flesh, stiff, hi- canvas, 128x90 inch., 1987 v «Nymphs,» acrylic/canvas, 173x122
eratic obesities, Teté fatties are naive, theatrical, mischie- inch., no date v «Submarine Astral,» oil/canvas, 98x72 cm., 1990
vous, playful, even «prima donnas» singing and dancing v «Chrysalis on the rocks,» oil/canvas, 30x40 inch., no date.
on the canvas.
Alberto Ulloa. (Puerto Plata, 1950/Santo Domingo,
«Fat Lady Portrait,» acrylic/canvas, 70x50 cm., 1992
v «Girl Portrait,» acrylic/canvas, 60x50 cm., 1992 v «Doña 2011). He held eighty individual exhibitions until 2002,
Flor,» mix/canvas, 76x60 cm., 1995 v «Something is Been in Dominican cities and internationally, even some itiner-
Cooked,» mix/canvas, 75x60 cm., 1997 v «Opening with Bad ants. Besides taking part in more than a thousand collec-
Habits,» acrylic/canvas, 24x30 inch., 1997. tive exhibitions and depositing works in relevant museums
and private collections, the art critic look at him, underlin-
Freddy Javier. (Hato Mayor. El Seibo Province, 1946). ing his work’ links with the perceptible linguistic conjuga-
tions taken to the plural synthesis. Plentiful, intense and
Colour, movement and a mass of passengers in the a plural creator, he is also a ceramist, draftsman, sculptor
streets, especially in the transport media as the popular and painter. The Spaniard critic Raúl Chavarri has judged
Onatrate’s guaguas, even the «concho» and the «mo- him when he was about to conclude studies in Spain: «Al-
toconcho,» transformed by the painter in the centre of berto Ulloa is a magic and surprising painter who makes, out
a reality inspiring a dramatic, expressionist and parodic of the quotidian reality, from every day meets; an unusual dis-
discourse which consecrates the author. His speech cul- covering possibility, a surprise cadence, a rhythm of colours and
minating years about the transports, and the «guaguas strokes.» (El Caribe, June 4th, 1977) On the other hand, the
voladoras,» mobility and march; offer diverse linguistic critic Armando Álvarez Bravo points that: «Alberto Ulloa is
ingredients in a plural synthesis reflected in his crucial an authentic expression of the Caribbean magic and spirit.» (El
pieces. Almost all of his works produced in 1989-1990 Nuevo Herald, Miami, Florida).
belongs to the Transport Series» and are part of the col-
lection treasured by Banco Popular. «Portrait of a Stranger,» acrylic/canvas, 98x152 cm.,
1988 v «Untitled,» acrylic/canvas, 75x101 cm., 1997 v «The
Fernando Ureña Rib. (La Romana, 1951). The oneiric Herald Woman,» acrylic/canvas, 100x75 cm., 1990 v «Juana,
The Lyric Black Woman,» acrylic/canvas, 155x83 cm., 1995 v
draftsman, the organic sculptor, the diverse facets painter, «The Rooster and the Moon,» mix/canvas, 126x102 cm., 1991
excludes himself from grotesque images and constructive v «María moñito,» mix/canvas, 100x75 cm., 1990 v «Face,»
landscapes to put ahead of the waters’ poetic in which the mix/canvas, 100x75 cm., 1990 v «Two women,» mix/canvas,
submarine dream helps him to subtract the astral conceptual- 150x100 cm., 1997.
ity, shoals, carnivorous, erotic and flowery forms in unbeliev-
able accumulations or, on the contrary, in self-transforming Alonso Cuevas. (El Limón, Jimaní Province, 1953) He
soliloquy. The surreal accentuation and oneiric submersion
of the expositive discourses, develop with the flowery afflu- resided in Europe, where he showed in collective exhibi-
ence, the fruity and vegetal marine reality: «Crisálida» (1991), tions, held some individuals and obtained recognitions,
«Spring Dance» (1992) and «Oceánica» (1993). namely, the Festival de las Palmas Prize in Spain and the
la Villa de Vitry’s, both in 1980; Monaco’s International
«Carnivorous,» oil/canvas, 40x30 inch., no date v «La Prize (1981) and Firsts Golden Palette at the Cagnes-Sur-
Crisálida,» oil/canvas, 32x50 inch., no date v «Dancers,» oil/ Mer Painting Festival, France, 1985. He often returns back
canvas, 67x87 inch., no date v «Mountain Sickness (Soroche),»
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