2016 Art Critique By Soledad Neira Monge

To speak of artist Ruby Yunis is to speak of meditation and silence. She expresses her profound introspective reflection. Her direction is that which is limitless and immaterial and her essential concern, that which is meta-worldly.

I see her contemplating the spectacle of constellations. She fixes her eyes and hands on far away galaxies; her telescopic focus of flashing visions like cosmic or galactic explosions. There is no intention of a descriptive kind to be seen, but expansive weaves of forces.

The unintelligible grandeur of space traps and condenses her, submitting light and color to transparencies and fine glazing within her creation; and the interplay of textures with delicate shades. The main color is on top of the drawing, warm and cold colors in controlled and well executed flows of paint. She is backed by a solid technique unafraid of modification, the destruction of the trial if it fails, because the artistic entity’s own sense of life prevails. Her experimental platform is vast and inspires respect, among other strengths proper of great artists, of tireless resources, contributing that systematic capacity for re-invention.

She defines her production in an abstract expressive context, extremely personal, as an isolated artist founding a movement within herself. Her freed imagination, and the marked gestural pulse give her away in the visual autobiography.

Solar engraving, her most avant-garde working technique positions her at the top; the unrestricted respect for ecology in the procedure of a harmless technique for invasive and harmful concerns in relation to nature.

On the other hand, engraving is the most precise means for her expressive needs. She prepares her soul for creation; she nurtures it outstandingly in philosophical thought and ongoing meditation.

She seeks instances of loneliness to purify herself and communion with everything belonging to her.

She thus generates her visual proposal in a thematic encounter that strongly moans for conducting the observer to essential questionings. Without a doubt, the deepestof humans’ souls and citing him or her to navigate the infinite constellations of her theory and hypothesis.

Her meta-humanthemesare a provocation of thought beyond images.

There, she began the journey of her work, crossing surfaces and dimensions; separating herself from the relation between image and idea, in order to make the spectator a participant of research unknown or not very assimilated in our system.

Ruby Yunis is without a doubt an important contribution to the context of art and she still has a lot to say, not everything has been resolved.

She leaves us captivated by the wait for another stage.

Soledad Neira Monge

Bachelor of arts, postgraduate diploma on contemporary trends
Director GaleríaFondo y Forma
Santiago, July 23, 2016


2006 Art Critique By Norma Araníbar

Her attachment to pictorial abstraction is most radical. There is in her a praxis and an evocation.

Without the fantasy of the past or the utopia of a new perpetually differed language, modern painting is free to reveal the unexpected in the preexisting context. This is what happens in Ruby Yunis’ paintings, a very individual artist whose originality stands out in the innovation of language: a surrealist realism that directly expresses the fantasy of her inner world. During her career, she has crossed phases of a great coherence during which she adhered to determined bodies of visual elements, even specific chromatic combinations. The incorporation of new technologies, in her case is an honest step beyond what she was already doing and naturally contributes to her body of work. Her technical refinement makes a contribution, for which she is already well known. Ruby stages the tension, sensibility and contained passion we have learned to appreciate in her paintings. In her landscapes, her main subject, she presents us an accented chromatic character; yellow and blue tones dominate with a relatively limited spectrum of other tonalities, as a compensation for the intense freedom with which the other visual elements are treated in her works.

Between discipline and liberation a dialectical, probably deliberate relation is established. Her attachment to visual abstraction is quite radical. It is evident that she enjoys the research process and directs it toward the field of pure painting, without connotations to cross the immediate field of selective perception she is capable of delivering. Painting creates its own universe, without any need to benefit from the presence of physical entities or emotive connotations. That is what Ruby Yunis’ paintings proclaim. What happens in her paintings? In order to answer that questioning we have to observe her work so we can simplify; I would say there is a praxis and an evocation. Without realizing the challenge painting showed her, from an early age she did the best she could, and when seeing the results, she opens up to creativity and through it remakes her universe. She works with the superposition of fine layers of paint with veils and wears, never using pure colors but seeking for similar effects in her chromatics. With color she builds the space, or better, she creates an atmosphere where the line enters the scene: the figures she describe has a fleet character of evocations, as new images inevitably intervening the diffuse memories, because this is Ruby measuring the horizon, the limitless space of her compositions. In her chromatics she suggests that her paintings, with their imaginary lines may step back toward the infinite. Seduced by the permanence of testimonies of the memory of the world and by what arrives from its modernity, she at times resembles an archeologist working with traces that have survived for centuries. She is one of the many people, even if they will always be too few, that think in how to build a better world other than the one we have now. She has always been used to color, but she is still searching for her mysterious soul. This is because her weapon is art and it is impossible to dissociate her paintings form her life. Ruby Yunis tours the world with an inquisitive glance, capturing secret realities hidden behind simple appearance. Her painting is born of interactive depths established between the cognitive subject and the perceived subject, through a process of ontological and epistemological apprehension of what this artist sees, proposes her themes as a transit through the world.

Norma Araníbar

Iberoamericana International art magazine review
Miami. FL, February 2006


2004 Art Critique By Milagros Bello

Artist Ruby Yunis started out her artistic career with a keen and distinct figurative proposition that captured her visual and existential experiences at that time. Her Psychology and Anthropology university studies provided the grounds for her sensitive and steadfast awareness of her surroundings. Her artistic training in Chile includes studies under artist Berta Orrego; in the Contemporary Arts Institute; the Arts Center; under artist Eva Holz; and in the Arts School of Pontificia Universidad Catolica, where she gained artistic and aesthetic recognition and furthered her knowledge of painting, drawing, water color and oil techniques, as well as mixed techniques. Yunis is an incessant researcher and is constantly devising new creative paths. She is impassioned with discovery and inventiveness. In January 2004 the Arteexpresion Gallery granted her the Creativity Award”.

Ruby Yunis travels the world with inquisitive eyes, capturing the secret realities concealed behind apparent facades. Her painting is the culmination of the interactive depths that originate between the cognitive subject and the perceived object, through an ontological and epistemological “apprehension” process of what is beheld. It is not a copy or transference, it is mythic recreation of the artistic object. The artwork is laden with density and effervescence, which transcend technique or mere thematic representation. The artist proposes her themes like a transit through the world.

Yunis proposes figurative work, with the predominant themes of women, maternity, infancy, as the archetypes of origin and the eternal feminine. She approaches oil accentuating two visual levels: light and color. The artist uses the palette freely, with a carefree movement between warm and cool colors. An iridescent scene prevails in which light bursts out explosively from backgrounds or skies, to reverberate with a metaphysical symbolic luminosity.

Her oil paintings address other important themes: Christian religious icons, in“Maria y El” (Mary and He) we see sweet and introspective universal symbols of love and compassion. Ruby Yunis is an unsatiable seeker and she also ventures into the acrylic technique, by which she interprets another proposal: abstract painting, which brings forth a passional gestualism detached of all intellectual attachments. The stroke evinces a strong rhythmic vibration and impetuous dynamism. Her work is entered upon with a liberated spirit. The artist breaks loose and allows automatism to take over her creativeness. This work features no narrative. It brings forth invisible musicality and vigorous interiority. Constructive strokes that are juxtaposed with one another compose a concert of colors. Her works portray imaginary compositional puzzles with lineal intercrossing against vertical-horizontal structures. Her acrylic work embodies an absolute cosmic strength, which delves into the spectator’s most subtle emotionality.

In “Hallazgo” (Finding), a work of intense energy, we notice a strong tactile impasto finished with a palette of green tonal counterpointed by purples, representing a grand naturalistic beauty.

Her work in acrylic addresses yet another theme: sacred architectures, as a proposition of the religious and the votive in its most universal sense. The artist renders her views of the Sacred Jerusalem. These small format paintings are the result of her journeys to the sacred land and the impact that this millenary region provoked in her. The canvases show scenes of Jerusalem, projecting at a distance the strength of the city’s geometric structures, with its temples, churches, synagogues and mosques, in a voice that addresses an only God for all Humankind.

The water color technique is another dimension of Yunis’ work, through which the artist projects the mystic emanations and outpours of waters and landscapes. These works contain a profound metaphysical evanescence. The figures’ transparency and magic “elan” prevail. Ruby Yunis’ personality incites her to pursue new answers every day. Her most recent acrylic work evidences an important change: from figuration and lyric abstraction, the creator transits into an explosive abstract form, embodied by vibratile geometric structures and thick and radical spatula strokes, laden with vital emotions. These paintings thrust her composition into infinite space. The circular or rectilinear forms follow one another incessantly, in a dynamic repetition that dialogs with avant-garde futurism. In this new exploration – promising and innovative– Yunis asserts her abounding artistic creativity, substantiating her work in the history of Latin American painting. It is her way of finding her alter ego in her painting.

Dr. Milagros Bello

Art Critic - Art Historian
Member of AICA-Paris
Miami, 15 January, 2004


Escribir, decir sobre las imágenes es siempre un riesgo, y un riesgo que debe asumirse e intentarse, tal como la pintura intenta ver, conquistar una mirada que supere a los ojos, que vea con el alma.

Los trabajos que aquí podemos contemplar son eso, hijos de la luz, tanto de esa que se apaga y enciende todos los días, como la de aquella que brilla en nuestras manos, con las que vamos iluminando la existencia opaca, descubriendo caminos allí donde el sol es incapaz de mostrarnos algo, acá donde sólo la mirada de cada uno ilumina al que está enfrente. Estos cuatro son hijos de la materia luminosa, lo que es el arte. Lo que es la pintura y que sólo se logra siendo fiel a un oficio que vivifica el alma, que se recibe y se logra en una disciplina amorosa, que al final se entrega.

Luis Catalán Torres
20 de Agosto de 1990



2011 "Mencion Creatividad" Salon de Invierno Sevilla 2011, Sevilla,España

2011 "Mención de Honor" Show Art Internacional Unilatina 2011 Miami, Fl, USA

2010 "Premio de Honor" Grabado, en León, España

2010 "Mención Especial" ShowArt Internacional d´Estiu a Catalunya

2009 "Premio de Honor" Salón de Invierno Barcelona" Galería Esart, Barcelona, España.

2009 "Mención de Honor""Images et Touches" Galerie Artimundo, Bruselas, Bélgica.

2007  “Mención de Honor” VIII Salón Internacional de Invierno en Galería Esart,  Barcelona,  España

2005 "Primer Premio" Arte Digital, Concurso Internacional "MundoArt05" en Galería Hatman Art Space, Miami, Florida, USA.

2005 "Mención Especial Liteco" en "Sensaciones Latinas" Miami, Fl,USA 2005

2004 "Mención a la Creatividad " Arte Digital, Exposición de artistas latinos 2004 Galería Artexpresión, USA-Argentina

2004 "Mención Artexpresión" Arte Digital, Concurso de artes visuales "Liteco" en Museo Social Argentino, Bs.As. Argentina.

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