Yuni R. P - Lealtad y horizonte

YUNI R. P.ʼs painting is built from a direct, physical relationship with matter. Working mainly with oil on canvas and discarding 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 layer the oil through broad, decisive gestures. From this procedure emerge surfaces of considerable material- and color-richness, where colors are partially on the canvas without completely losing their individuality. This feature constitutes one of the most recognizable elements of his language: intense blues, turquoises, solar yellows, oranges, reds, and whites face off and mingle in a palette of great luminosity.

Although his production includes landscapes, gardens, figures, and urban scenes, in recent years the sea has become one of the major axes of his painting. Sails, ports, coasts, reflections, and horizons repeatedly appear, transformed by a gaze that privileges sensory experience over meticulous description. His residence in Havana and the daily proximity to the coastal landscape thus find 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 subject. In some of his seascapes one can even sense an affinity with the luminist tradition of Joaquín Sorolla, particularly in the interest in the glow of the water and in the way whites, blues, and yellows turn the marine surface into a space of light. It is not a matter of imitation, but 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. Seen up close, the canvas can approach abstraction; taken from a distance, those stains and directions reorganize 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 convey this character completely. In front of the canvas, the relief of the oil and the changes produced by light incidence give the works a presence and a 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.

Yuniesky Rodríguez Peña’s public career includes solo and group exhibitions in Cuba and presence of his work in international private collections. His work has also been disseminated internationally 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 oil on high-quality professional canvas technique.
Dimensions: 73 x 52 cm of painting.
Original edition.
Shipping will be carried out through United Parcel Service (UPS) for Spain and Europe, and through FedEx for the rest of the world. The work will be rolled and protected with 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 arrive within ten days, depending on the destination country.
“This lot contains visualizations created with AI. Please consult the original photographs to verify the artwork’s real condition.”

This oil-on-canvas work is a figurative landscape in a post-Impressionist style that stands out for its deep poetic charge and sense of serenity. The composition places a young woman with her back to the viewer in the foreground, with a red braid and wearing a magenta skirt, sitting on the golden grass beside her loyal dog as they observe a wide body of water. The use of spatula and impasto brushstrokes gives a physical dynamism to the texture of the grass, the clothing, and the glints on the water. The color palette contrasts magnificently the warm tones in the foreground — ocher yellows, golds, and violets — with the cool, luminous blues of the water and the greenish and purplish hues of the imposing mountains in the background, achieving an atmosphere of perfect harmony between the human figure, nature, and its faithful companion.”}