Yuni R. P. (XX) - Danza de cisnes

YUNI R. P.'s 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 in which color does not merely describe the image: it acquires volume, direction, and movement.

The spatula allows him to deposit, drag, and overlay the oil through wide, decisive gestures. From this procedure arise surfaces of considerable material- chromatic richness, where colors are partially on the canvas without completely losing their individuality. This characteristic constitutes one of the most recognizable elements of his language: intense blues, turquoises, solar yellows, oranges, reds, and whites appear confronted and interwoven 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, shores, reflections, and horizons appear repeatedly, transformed by a gaze that privileges sensory experience over meticulous description. His residence in Havana and daily proximity to the coastal landscape find 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, there can even be perceived an affinity with Joaquín Sorolla's luminist tradition, 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 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 canvas can approach abstraction; 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 a deeply optimistic vision 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 oil on high-quality professional canvas technique.
Size of 73 x 52 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 rolled and protected with several layers of packaging, nylon 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 after ten days, depending on the destination country.
“This lot contains visualizations created with AI. Please consult the original photographs to verify the real condition of the work.”

This oil on canvas painting is a lyrical landscape with marked Impressionist influence that evokes the serenity and beauty of wild nature. The composition centers its attention on a pair of white swans calmly gliding on a still pond, creating soft edges of light and ripples on the water. The technique stands out for the generous use of the spatula and thick impasto, which grant a rich tactile relief to both the birds’ plumage and the dense perimeter foliage. The chromatic palette creates a suggestive balance between the cool tones of the water —turquoise blue, emerald, and violet— and the vibrant brushstrokes of pink, crimson, and yellow in the floating vegetation, capturing the refraction of natural light on the water surface with an idyllic, poetic, and notably fresh pictorial atmosphere.