As soon as his first works were known, we knew that
Enriquillo Rodriguez Amiama had taken painting seriously. It was
also understood that there was a need to pay full attention to this young
man, still a student at the National School of Fine Arts. He did not
belong to the kind of artists who imitate their masters, and neither was
he a rebel....
Nevertheless, attraction grew as mangoes were sprouting on his canvases
and papers. Seduction was exerted, and as much of the velvety
treatment was given to the fruits as for its thoughtful placement in the
domestic atmosphere. Obviously his still-life are not traditional,
but at the same time, we feel them infinitely 'creole' and close.
Years later, Enriquillo, as he prefers to be called, still paints
mangoes, but we have not gotten tired of his subjects. We do
not get the impression that he is repeating himself. This could be
due to some kind of sign/symbol identifier, with a surrounding world that
multiplies its definition and vitality. Far from being fixed in a
beautiful pictorial offer destined to consumers of perennial classicism,
he has renewed its manner and placed it in a post-modern stage.
To begin with, this artist with the friendly name, does not limit
himself to representing an object by just fixing its external appearance,
such as the mangoes we see in the market place, fruits stands, on our
table or even pending from a tree. He creates and builds a scenery
surrounding them, and lovingly places them over cloths and delicate table
linens, encircled by various landscapes. These components configure
an atmosphere that leads us from the surface of the object to an internal
vision of the artist, to a lively metamorphosis of the elements.
What is the base for this transformation? How does Enriquillo
obtain it? The different areas of the painting subtly differ from
one to the other, contours are distinguished with volume, lights seems to
penetrate the canvas, molding and modulating, the fruit, its bedding, its
place.
Life, breathing in these 'alive' still-life, ends up in a direct
autobiographical experience as we recognize a workshop ambience between
frames and easels. The vital and effective quality, always present
in the work of this artist does not block the communication of peace, stability
and firmness given by the image. We are facing another
autobiographical value, psychological this time.
Enriquillo's work, especially his recent ones which are now more
mature, evoke Henri Matisse's desire for painting. A beautiful
proffession of faith - "What I dream, is an art of balance,
beauty, purity, quietness, free of disturbing subjects, meant to be for
all cerebral workers, for business men as well as the literary artist, for
instance, soothing, a cerebral sedative, something like a
comfortable
easy chair that give relief to tiredness". Thus,
contemplating some of the
paintings exhibited at the Voluntariado de las Casas Reales in Santo
Domingo, the spectator is allowed to be guided perceptibly and
spiritually,
forgetting the time of a long glance, of personal and common
problems.
If Enriquillo Rodriguez Amiama's paintings inspire such quietness,
it is
because there is a perfectly balanced combination of the signs by
its
distribution, by its grouping, by its lay out. Structural
arrangement
prevails, then, form - size, lines, distances - and color - scale,
tone,
harmony - win in the same proportion. One basic element for
this pleasant
expression and impression (.no indulgence) is the still, brilliant,
diffused, splendorous, penetrating light. We must keep
referring to light,
time and again.
Spontaneously, we have left out our reference to objects, to a
recognizable
reality, to only enter upon the basically artistic solutions,
independent of
their representation. Logically, the model, real or
imagined, gives up in
the presence of a sign, and of what is intrinsically artistic.
Moreover,
Enriquillo unfolds in just one picture, the language of an abstract
expression, integrating both perfectly, and then getting from our
point of
view, with this symbiosis and closeness, perhaps the best esthetic
achievements.
Controlled but expressive stokes of the brush write the poetry of
painting,
mastering the strengths and its own expressiveness. It reaches
another
role: arousing the presence of figurative elements. Occasionally of
course,
inspiration has generated an image or an integral abstraction which
we
assume. and we unrestrainedly return to the combination of both
together.
No matter how objective criticism can be, it can not avoid
subjectivity!
Enriquillo centers his exhibition - as in previous ones - around
mangoes,
sole or accompanied protagonist, substantial by itself although
enriched by
the atmosphere surrounding it.
The artist paints landscapes and human beings as well, with accurate
and
refined execution. We do not leave them aside, but currently
for us the
supreme tropical fruit inspires here a 'delicious' metaphor to the
painting,
which we deeply appreciate.
From the image of the fruit to the fruits of the imagination,
Enriquillo
Rodriguez Amiama continues his artistic agenda, accompanied by the
rhythm of
life, his belief in his trade, his emotion and faith.
