Yuni R. P. (XX) - Canto de primavera

YUNI R. P.'s painting is built from a direct, physical relationship with matter. Working mainly with oil on canvas and dispensing with the brush in favor of the spatula, the artist develops a pictorial surface where color is not limited to describing the image: it gains volume, direction, and movement.

The spatula allows him to deposit, drag, and overlay the oil through broad and decisive gestures. From this procedure arise surfaces of considerable material-kinetic richness, where colors are partially on the canvas without losing their individuality completely. This characteristic constitutes one of the most recognizable elements of his language: intense blues, turquoises, solar yellows, oranges, reds, and whites appear faced and intermingled in a highly luminous palette.

Although his production includes landscapes, gardens, figures, and urban scenes, in recent years the sea has become one of the great axes of his painting. Sails, ports, coasts, reflections, and horizons appear repeatedly, transformed by a gaze that privileges sensory experience over meticulous description. His residence in Havana and the daily proximity to the coastal landscape find hence a natural reflection in his imagination.

Formally, his work dialogues with certain principles of Impressionism and Post-Impressionism: capturing changing light, chromatic fragmentation, and the will to convey an impression rather than a photographic reproduction of the motif. In some of his seascapes one can even perceive an affinity with Joaquín Sorolla’s luminist tradition, particularly in the interest in the glow of the water and in how whites, blues, and yellows turn the marine surface into a space of light. It is not a matter of imitation, but of an affinity within a long tradition of artists fascinated by the relationship between sea, color, and luminosity.

However, YUNI R. P. takes that tradition toward a more materially emphatic painting. The imprint of the spatula remains visible and turns each color plane into a small structure. Up close, the painting may approach abstraction; from a distance, those spots and directions reorganize themselves again as sails, reflections, vegetation, figures, or horizons. That tension between abstraction and representation is one of the most attractive aspects of his work.

Photographs can hardly fully convey this character. Facing the canvas, the relief of the oil and the changes produced by incident light give the works a presence and depth that exceed the two-dimensional image. The result is an immediate, vital, and recognizable painting, characterized by strong chromatic energy and by a deeply optimistic view of the landscape.

The public trajectory of Yuniesky Rodríguez Peña includes solo and group exhibitions in Cuba and the presence of his work in international private collections. His work has also been internationally disseminated through platforms and organizations dedicated to contemporary art. His works are collected in several places in Europe both privately and institutionally.

Artwork by the artist Yuni made in the technique oil on high-quality professional canvas. Dimension 73 x 53 cm of painting. Original edition. Shipping will be carried out via United Parcel Service (UPS) for Spain and Europe, and via FedEx for the rest of the world. The work will be shipped rolled and protected by several layers of packaging, bubble wrap, and placed in a sturdy tube. Once the work is paid for, three days are required for the packaging process and delivery to the shipping company. The piece will reach you within ten days, depending on the destination country.
“This lot contains visualizations produced with AI. Please consult the original photographs to verify the real condition of the work.”

This oil-on-canvas work is a delicate naturalist still life with a marked impressionist influence that celebrates wildlife and the spring rebirth. The composition centers on a nest meticulously woven with straw and twigs in ochre and sepia tones, where three bluebirds rest among flowering branches of small white flowers and emerald green foliage. The generous use of the spatula and impasto on the tree bark and the feathers stands out, providing a rich tactile relief that interacts dynamically with the light. The background, worked with fluid brushstrokes of turquoise blue and sky blue, evokes a clear, luminous sky, creating a serene, warm, and highly lyrical visual environment.