Rodriguez Amiama has done, from long ago time already, something different with a subject reiterated within the Dominican art, where the fruit reasons and still life, beyond the exercises of factory and the fan works , have fed the vein on the more or less academic classicism of cut more than no other line, with as remarkable examples as Mariano Eckert and Leon Bosch, as much as an art more in the line of the historical vanguards, as he has been the one of Joseph Gausachs.

Still life symbolist, in the footpath of "bodegon" baroque Spanish, but in neo figurative key, that integrate even graphics signs and abstraction elements, is the great contribution of Rodriguez Amiama to the pictorial universe of our country.

Recent integrations between still life and landscape, integrate to mango, leitmotif of their iconographic world, symbol of desire and the Dominican being, as a loving form of yearning, with a series of successive planes, that allow to the artist a alternation of geometric tempos and spots, of precisions and studied imprecision, and of permutations varied from a repertoire of formal and chromatic resources in principle simple, but rich in composition possibilities.

With these and other images the artist remembers to us what or we knew, but we return to confirm, and is that the history of the Dominican painting of the two last decades would be incomplete without the mention of an artist who summarizes and fuses several traditions of our plastic one, in a rigorously personal assembly, integrated, in which diverse levels of language coexist of way ordered, from pictogram to the abstract spot or figurative icon.

Integration, of the human figure, introduces a iconology ambiguity again that forces the reinterpretation of the assembly of the images, where the feminine image is multiplied like wanted and desirous subject, that as well power an animistic appreciation quasi of the fruit element, emblem, like in the Vanities of the baroque one, attractive and the mortal, so that the famous poem of Requiem to painter Paula Modershon Becker of Rainer poet remembers Maria Rilke.

This beautiful exposure in Panama de Rodriguez Amiama, in Mateo Sariel Gallery, is simultaneously a summary of the searches and the findings of the artist in the last years, and a glimpse of which seems to pre appear itself like their next lines of investigation. "