EDUCATION 

Eduardo Abela School of Visual Arts, San Antonio de los Banos, Artemisa province, graduated June 2008. 

PERSONAL EXHIBITIONS 

2008: Energy Revolution. “Eduardo Abela” Gallery. San Antonio de los Banos. 2017: “Almas Revestidas,” 

EXHIBITIONS 

2017: CONTEXT Art Miami at One Herald Plaza, Miami, Florida 

Art Madrid 12th Contemporary Art Fair at Cibeles Palace. Madrid, Spain. 2016: “Metallic Taste,” at the Villa Manuela Gallery in Havana Cuba. 

Cubania Barclaycard Center in Madrid, Spain. 

2014: V Salón Rubén Suárez Quidiello. Raimundo Valenzuela House of Culture. Artemis, Cuba. 2013: XXVI Eduardo Abela Provincial Hall. Eduardo Abela Gallery. Artemis, Cuba. 2012: Tenth Illustrated. Raimundo Valenzuela House of Culture. Artemis, Cuba. 2009: Provincial Hall of Plastic Arts. Mina Perez Gallery. Mayabeque, Cuba. 2008: XII Havana National Salon. Visual Arts Development Center. Havana Cuba. 2007: Havana Provincial Hall. Eduardo Abela Gallery. Artemis, Cuba. 

Pedagogy 2007. Karl Marx Theatre. Havana Cuba. 

2006: IV Hall of May. Academy of Plastic Arts Eduardo Abela. Artemis, Cuba. Havana Provincial Hall. Eduardo Abela Gallery. Artemis, Cuba. 

2005: “Untitled,” Drawings at Eduardo Abela Gallery, Artemis, Cuba. 

III Hall of May. Academy of Plastic Arts Eduardo Abela. San Antonio de los Baños, Artemis, Cuba. 

PUBLIC SPACE INSTALLATIONS 

2007: Murals in the Hotel Las Yagrumas. San Antonio de los Baños, Artemisa, Cuba. 2023: Painting from the series, “Redox o no Redox,” Melia Cohiba Hotel, Havana Cuba 

ACKNOWLEDGMENTS 

2012: First Illustrated Tenth Prize, Raimundo Valenzuela House of Culture, Artemis, Cuba. 2009: First Prize in the Provincial Hall of Plastic Arts, Mina Perez Gallery, Santa Cruz del Norte, Havana, Cuba. 

2008: UNEAC Award of the XII National Salon, The Visual Arts Development Center, Havana Cuba.

2007: First Prize at the Havana Provincial Hall, Eduardo Abela Gallery, Artemis, Cuba. 2006: Second Prize at The Salón de Mayo, Academy of Plastic Arts Eduardo Abela. Artemis, Cuba. 

2005: Mention in the III Hall of May. Academy of Plastic Arts Eduardo Abela. Sagebrush, Cuba. 

WORKS IN PRIVATE COLLECTIONS 

United States, China, Peru, Panama, Japan, Spain, Italy 

ESTEEM 

THE DRAWING THAT DISTURBS REALITY 

How “intentionality” defines the contemporary 

Yamir Izquierdo (Artemisa, 1988) graduated with a specialty in painting from the Academy of Visual Arts “Eduardo Abela”. His most recent works could mean for the 

staunch devotees of conceptualism, the return to tradition, for the perfect stroke of the anatomy, the remarkable chiaroscuro or the preference of the theme that his work professes; but it 

It is true that all of this is currently disturbing or, even, as John said 

Currin, one of the “most contemporary traditionalist painters”, “a political act”. He 

virtuosity in Yamir’s poetics recovers more than a memory for a time of re presentation of reality: it also puts in crisis the current budgets that deny 

of the value of the good office or of the artist as the only author and executor of his work. His series Almas Revestidas becomes a mega-notebook on canvas that studies the physical and psychic postures, almost theatrical, of the human being in these times, in which the Natural behavior costs more than built behavior. Yamir disinhibits the bodies in the naked and shields some of its areas with medieval armor, as if they were after a battle or in trials to perform. 

These apparent protections often leave important parts uncoated or, 

they simply step aside, they depose. Obviously there is no armor capable of cover the soul, not even the skin itself, so that no material element, no matter how consistent as it is, nor the best possible physical complexion, nor the gender, race and age, can define human values, behind them only appearances could be manufactured. The artist then goes to anonymous stages to concentrate all the attention on the detail of the bodies and their postures of submission, irreverence, containment and rest. Almost in a symbolist way, no longer renaissance, he leaves the sketches of fragments finally not 

exposed in the final result of the composition, as well as the balance of a battle at level ideoesthetic. Yamir’s drawing thinks of himself, in a self-reflexive position, he plays with the definitions of it and subverts traditional codes resorting to them, without losing the essential: the work with the line and its technical improvement. Thoroughness in Clad Souls the atmosphere of a hyperbolic society that suppresses details to be increasingly “more operative” and “perfect”, without really assessing his real suffering.

Claudia Taboada Churchman