Page 418 - Arte e Historia

Danilo De los Santos
5. A RETURN TO THE CRITICAL CHRO-
NOLOGY since the early twentieth century to the
end of that decade allows us to focus on young artists
of the generation of 1990, which we call «novecentis-
tas». Yolanda Monción (Yuli), Mario José Ángeles,
Dinorah Álvarez and Mariano Sánchez, are artists
who graduated from training centres, and their
works and names are recorded in individual or group
exhibitions, as an important projection into the new
century.
Mario José Ángeles. (b. 1965). He studied architecture
at the Universidad Autónoma de Santo Domingo. Also
studied basic drawing and anatomy with Domingo Liz
and Roberto Flores, and painting with Guillo Pérez. In
1991, he celebrated his first solo entitled «Del Cono Sur a
las Antillas,» (From the Southern Cone to the Antilles»),
and the following year (1992), the second solo exhibit,
«La danza de los paraguas,» («The Dance of umbrellas»),
portable objects to protect from the rain which the artist
turns into a repetitive concept for drawing, photography,
installation and painting.
«The Umbrellas Dance» oil/canvas, 30x40 inch., 1997.
Mariano Sánchez. (San Juan de la Maguana, 1964).
He initiates artistic training at the School of Fine Arts in
his native city. In 1918, he attends the School of Art and
Design at Altos de Chavón, La Romana, obtaining the
Fellowship of the Parsons School of Design in New York,
sponsored by Larry Rivera, acclaimed American artist. In
1988, he graduated with honors in Fine Arts and Illustra-
tion at the School of Chavón. Between 1991 and 1999, he
held seven solo exhibitions, three of them in Miami, Flor-
ida, New York, and San Juan Puerto Rico. The remaining
showcases took place in the Dominican Republic.
«Mariano Sánchez is not only an assimilator and trans-
muter of signs with which the old European and American
avant-garde articulated pictorial modernity. He also sinks into gray pigmented on high and low keys, confirms her particular vi-
the depths of time and the history of Western art, to extract
from that source all poetic and formal resources that are neces-
sary in the definition of a personal visual universe, one of the
most amazing ones that contemporary Dominican painting can
count on.» (Amable López Meléndez).
The upheaval, the uncertainty of the form, the painful scream
of the lacerated matter, indicate the aesthetic ritual that frames
anti-forms in Mariano Sánchez’s painting. (Arnulfo Soto).
«The Fire Adoration,» acrylic/canvas, 76x97 cm., no date.
Dinorah Álvarez. (Native of Santo Domingo). In
the 1980s, she begins painting studies at the Academy
of Cándido Bidó, continuing at the National School of
Fine Arts. Her association with Roberto Flores and her
location in Jarabacoa, allows her to prepare a first exhibi-
tion held in 1990, followed by other solo exhibitions in
1995 and 2000, as well as participating in competitions
and other collective. Surreality marks her speech about
celestial spaces, cosmography and life experiences.
«The Queen’s Flight,» oil/canvas, 40x50 inch., 1992.
Yolanda Monción (Yuli). (Santiago Rodríguez, 1961).
She studied psychology from 1983 to 1985, and adver-
tising during the years 1985-1987, at the Universidad
Autónoma de Santo Domingo, attending various work-
shops on restoration that strengthen her career. In 1994,
she obtained a drawing award at the XIX National Bien-
nial of Visual Arts. Also, in that same year, she held her
first solo exhibition. Her exhibition «Around the rain»
begins investigating «the hidden umbrella’s soul.» Cecilia
Casamajor states: «That in elongated formats, she developed
a series of paintings of these indispensable gadgets, ubiquitous
and annoying. She fills them with life, and links them with the
rain, metamorphosed under the whims of the wind, she deco-
rates them, fades them, and placed them in the hands of a pass-
ersby or takes them away from the arms of a lonely child (…)
The division of space by octagonal shafts (…) some graffiti (…)
sion of tropical light, decomposing or gnawing the edges.» (CC,
El Siglo, November 14, 1994).
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