By Ángel Pérez
Those who think they are well-informed about contemporary artistic landscape might think Yuniel’s work is disrespectful and little serious. They might even think, for instance; that courage and boldness are required to sacrifice dialogic quality in a playful essay with the expressive value of a formal plane. Nevertheless, this work hides not only a motivating interest but also an image whose text hushes up more than what it tells. Young cuban plastic artists will be able to learn about ethical reality.
Though the analogic and thematic planes do not match reality, Yuniel testifies a real complex spirit of his time. His work comes out of a symbolic void depicted by a color and composition rhetoric. This artist’s work is an ideological field settled in his story however he stays out of it and sees it from a distance. Visual magnetism of Yuniel’s apparent geometric abstractions show firstly concern for revalorizing contemplation pleasure in a time we all look tired of social and political subtlety. Right behind this esthetic choice lies a wise attempt that goes further a pictorial gesture.
Then comes a legitimate option in which Yuniel’s visual exercises show openly his stylistic ascendance. In fact his eye-seducing mechanisms come from a steady legacy on the very surface of the pieces from neoplasticism and Bauhaus covering kinetic art and minimalism till pop art, mass media ethics and kitsch. However Yuniel’s intention for pastiche is a neutrality, geometry balance and composition symmetry attempt to basic attributes of representation: space, composition and colors overlooking a direct emotion of synthesis in a classic repertory. He expresses with absolute consciousness line horizontality, planimetricy and color. He even refuses a direct emotion focused on a synthesis.
Yuniel develops a wide manipulation of receptive capacity and achieves ideas about art itself free of unmorphological meditations. The textual conditions and the nominations of pieces report a remarkable redirection since when we finish we associate them with our contemporary culture.
The piece “4 + 1” shows a high interest and the echoes of the titles cover a great cultural spectrum. The same thing happens with “Unlimited” where thin lines go from up and down alternating yellow, blue and red to create a different image. Here we meet an important tip; two of the lines reach the outer of the work. This might seem a plastic formalism but economizes the linguistic repertory, the material and the support.
We can ask ourselves: Does self-sufficiency create a void of sense? Do presence and reductionism together of an expressive plane lead us to be unable of communicating? Of course not. Then it would be wise to ask where Yuniel’s choice comes from? I would dare to state that his choices draw the attention of an agonic cultural view that were born three decades ago with steady social commands which have achieved an axiological corpus of complex analysis.
If we look through the visual contemplation proposed by ABC and move further into a game of senses carefully elaborated among titles and images more than a suggestive datum will become evident to clearly understand what really occurs in Cuban art.
By Ángel Pérez