Yunia Lores' Biography

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Yunia Lores'

Biography

Guantánamo, Cuba. January 8, 1977

Live in USA

Education

1997 - Professional School of Plastic Arts “El Alba”, Holguín, Cuba

Solo Exhibitions

1997 - The mamas Twist. Art Center. Holguín, Cuba

1998 - The unconscious discomfort of desire. Art Center. Holguín, Cuba

2000 - The noble cloud of emptiness. (With Eduardo Verdecia) Art Center. Holguín, Cuba

2002 - Speaking a universal tongue. Gallery 141. Lancaster, PA. USA

Performances

1997 - The decomposition of the bodies. Professional School of Plastic Arts. Holguín, Cuba

1998 - Misses Grapes. Art Center. Matanzas, Cuba

1998 - Hitler in my bathtub. Electa Arenal Gallery. Holguín, Cuba

1999 - Princesses do not exist. Open Space. Art Center. Holguín, Cuba

Selected Group Exhibition

1995 - The twelve apostles at the first supper. Art Center. Holguín, Cuba

1995 - National competition of students “Benito Ortiz”. Art Center. Trinidad, Cuba

1997 - Exhibition of the Association of the Saíz Brothers (collateral to the VI Biennial of Havana)

1997 - II National competition of Small Format. Marti Gallery. Holguín, Cuba

1998 - National competition “Regino Boti”. Art Center. Guantánamo, Cuba

1999 - Cuban Art. Contemporary Gallery of Fine Arts. Zurich, Switzerland

2000 - Daughters of Eva. Electa Arenal Gallery. Holguín, Cuba

2001 - Cuban Art II. Gulliver Fibourg Gallery. Zurich, Switzerland

2001 - VI National competition of Small Format. Iberoamerican Home Gallery. Holguín, Cuba

(She has participated at different Art competition in Cuba)

Prizes

1995 - Prize for Painting. National competition of Students “Benito Ortiz” Trinidad, Cuba

1998 - Second Prize. National competition. “Regino Boti” Guantánamo, Cuba

2001 - Prize -VI competition of Small Format. Holguín, Cuba

Other Activities

1997 - 1999- Professor of Painting. House of Culture “Adelaida del Mármol” Antilla, Cuba

2000 - Mural paintings of the Hotel “Sol Meliá Rio de Oro” Esmeralda beach. Holguín, Cuba

2001 - Professor of Painting. Art School. Holguín, Cuba

Yunia Lores was born on January 8, 1977 at Baracoa, Guantánamo, Cuba. In 1994 she started her studies at the Professional School of Plastic Arts “El Alba” at the city of Holguin. In her second year of her career she discovered that her personal afflictions would guide her artistic ideology. She starts painting images with a lot of expressive strength. She was obsessed with death and everything that lead to a terrible and margined world. Arising pieces like“Agrio fermento mortificante de mi espanto” (Sour ferment mortifying of my fear) “Solitaria sombra de la moribunda.” (Lonely shadow of near death)” paintings full of dramatic visions. The artistic act was a way of liberating, an unproportionable desire to escape the conventional and the established standards.

In 1997 she graduated with the place on scene of “Las mamas Twist” (The mamas Twist) an Expo-Performance where Yunia danced the Twist and through around baby powder, in contraposition of the paintings hanging from the walls. In the same year she presented another performance at the provincial gallery of Matanzas “Señoritas Uvas” (Miss Grapes) a year later “Hitler en mi bañera” (Hitler in my bathtub) and in 1999 “Las princesas no existen” (Princesses do not exist) at the international event of arts “Las Romerías de Mayo” (The Excursions of May). She created an intimate dance invoking to a ritual of sexuality around a phallic object that resembled an orange squeezer. Dressed as a surgeon and painted of blood fused with the object of pleasure with a loud scream. During that same year she starts painting focusing more to the pictorial act rather than performances. She does not abandon the erotic subject or nudity, only that this time avoiding the excess and recreating the images with less crudity.

In the year 2001 she immigrates to the United States, the imagined context for years. At the present she continues to paint with some changes of strategies without leaving aside the canons that have guided her work. This new stage seduces the look of spectator with a bold cult toward eroticism. In her painting the naked human figure prevails. Her packed compositions and a surprising technical domain make every one of her pieces an excellent visual performance. The idyllic characters around the main characters of her intriguing visions confabulate in virtue of the stimulation and the risk. The self portrait, the elegance of bull fighting, frivolity of Medusa the exuberance of ballerinas and the madness are embraced in a human avalanche difficult to avoid. Let us see with our eyes and not with biases and decay. Let’s admire beauty without caution and without questioning the cause of existence.