Genaro Phillips a unique artist, spontaneous, critical, creative, hard worker, who has succeeded in bringing his art to galleries and museums nationally and internationally. This artist is always taken into account to represent the country in large national and international events.
Awarded by United Nations (UN), Nobel E. Leon Jimenez, selected New York City to represent the Dominican Republic in the roadshow at the Arts Center of Miami, Museum of Art, New Orleans, Louisiana, Wadsworth Atheneum Hartford, Connecticut. Selected by the APA and AA airlines for their magazines . Invited by the University of Puerto Rico and the University of Puerto Rico to perform solo on their premises.
It has 8 solo exhibitions celebrating recently his 26 years in the art with his retrospective FLIGHT OF LIGHT. In the Dominican American has participated in numerous group exhibitions, such as 100 years of Dominican painters, museum of the royal houses, Artists of the Hispanic Caribbean, tropical inner center of the arts coral gables, FL. Opening ALINK contemporary art gallery. and national biennials.
In 1995 his works were exhibited alongside the master Wifredo Lam at the Center for the Fine Arts, Miami.
The artwork of Genaro Phillips has earned the attention of critics as Shifra Goldman in the United States, Mirna Rodriguez in Puerto Rico, and the main critics of the Dominican Republic.
His artistic production has developed in his studies of New York, New Jersey and the Dominican Republic.
Genaro Phillips was born in the Dominican Republic in 1955, graduated from the University Autonoma de Santo Domingo, the National School of Fine Arts, study modern art in the museums of New York METRPOLITANO and MOMA. UNAPEC art teacher and UNPHU.

PAINTING IN THE ARTIST GENARO PHILLIPS
For Abil Peralta Agüero Aica

The artists in the generality of cases do not stop to explore or understand the emotional states opsicológicos-aesthetic, the subject of a strong display in the viewer.

Phillips does not look to see through the eyes of the inside, paint, create, write and subscribe a
iconographic repertoire to be felt as living material inside, in the mystery, the look and the ability to look inward contemplation of art.

Accomplished artist with its masses of red color dotted with orange nervous, cause turns, gestures and movements that connote the subconscious emergency reflective perceiver In his own work is aesthetically complex formulations registered invisible emotional states of the beholder.

His painting Liam unreleased live Quevar emotional experiences beyond the social, psychological and anthropological work of art. Using resources as complex as Tachism and frottagge, the artist appropriates dibujística their integration capacity to give us a work in which it becomes clear the exercise of freedom as a resonance be-their being-the being of another, of which look.

As he poses, in-depth analysis of his art, the art critic Efrain Castillo, Phillips's poetry sometimes gets so deep in its scope is, philosophical speculations, his aesthetic formulations noted phenomena of consciousness as wicked as indifference, putting as revealed in a category his work, inscribed in the statutes of sin.

- "Including" the indifference of the seven deadly sins, "says the narrator and writer famous Dominican, reflecting on the aesthetic and semantic revelations that can look and feel when we decompose the lexical structures GenaroPhillips visual discourse;

In this new sample, reaching levels three works bill and resolution architectural design., Dibujística and capacity of visual expression that is necessary to propose to the viewer as masterpieces: "Waiting" and "mark of freedom" created by artist who despite his unwavering humility, is now carrying an aesthetic thinking in his pictorial codes is called to give more of excellence that has been able to work together to give us a good part of those making up this exposure.

* Member of the International Association of Art Critics, AICA. Secretary General of the Dominican Association of Art Critics and art director in Santo Domingo, international magazine specializing in Caribbean art.

GENARO PHILLIPS
By Amable López Meléndez

Evocations. This is the title of the exhibition Fausto Gender Phillips Art Gallery. It was opened on Thursday 3, forming a pleasant surprise to those who had not been able to observe closely a set curing the production of this artist in the last ten years. In this set, the deepening of an evocative poetic polisintetizar not hesitate to ancient myths to the daily rituals, the maturity of the personality and the trade, are characteristics that determine a new stage in the work and the Genaro path Phillips. Now critics of a painting blue backgrounds that shook the folk ties or formal references (literary) of the early twentieth century avant-garde European and national art teachers have been supplanted by radically feverish lyrical and surfaces vibrant atmosphere multilayered compositions alternative and contrasting fluids.

To get to this point in his paintings, Gender Phillips had to leave the island and go to the UnitedStates, staying in self-imposed exile for 9 years. Upon arriving in New York City in 1989 his case was not the same as many Cuban artists who came to North America and Europe and gallery owners were away, heal and critics who were between the "large" representatives of Latin American art. But Persistence is one of the hallmarks of the personality of Genaro Phillips. In New York was devoted to outlining his work and was making its way through the galleries and cultural institutions to the extent of winning the attention of curators and authorized latest writers of contemporary Latin American art. Thus we find the pitas of their participation in the important exhibition Caribbean Vision: Contemporary Painting and Sculture, exhibition, itinerant traveled more than twenty museums in Europe and the United States between 1995 and 2002.

In large museums, galleries, workshops and other artists in his own New York City, has found the feedback Genaro Phillips necesano to renew the same aesthetic that will let us see how one of the creative personalities of the more transparent Generation 80. In a following that extends beyond the three decades, we note that Phillips aesthetic volition always emphatic pursuit of balance between the formal content and the content objectives of the paintings. If this painting stood out above the symbol and sign of the narrative and historicity, now the color, line, space and matter in store we cut an imaginary universe in which neo-expressionist painting the object itself proclaims its visual impact undeviating anecdotal or references to other universes, at the same time that makes us notice the great avant-garde substrate on which they settle these last paintings in the series enactments.

In these images, reverberant, flight reminiscent of Genaro Phillips universal goes back projections. So warned the artist moving between agglutination and leak: two key constants that allow us to glimpse the coordinates in which reactivates the contemporary aesthetic context in Santo Domingo. It is as if the artist would have had to leave, leave and take the diaspora constant that characterizes an essential aspect of our cultural identity. But the assumption that identity does not occur in the skin or corporeality, but in the preservation of ancestral energy and transformation of consciousness itself, in the shaping of an imagery and a visual universe that finds its deepest foundations in our tradition of painting and the assimilation of the findings most illustrious historical avant-garde of modernity. and this and if flight and clumping.

Thus, Genaro Phillips has accomplished transhumance Tracker archetypal dreams and treasures transformers. His stay in the big cities, has been moving ever closer to his essential quest. Their estrangement has placed him closer to his people and his time.

His time of flight has become one of the most fruitful returns and a new work, gaining new meanings purification and contingencies, be open to new levels of enjoyment and insight, while moving away from the totemism of historicist anthropologism weak imitations of magic-mythological still mark much of the paint. Latin America, to become more random, more lucid, more poetic and more committed to the search key pictorial system.

GENARO PHILLIPS
By: Efrain Castillo

From Exekias (Final VI century BC) to Edward Munch (1862-1944), great leaps have been appended aesthetic Eyot-states-as to the accuracy, thoroughness of the lines and purity of form, the powerful expression of moods and the intensity of human feelings (basing) on political pressure from group discussions in the philosophical reflections on literature, the current yen mystical musical itself. In this regard, Levi-Strauss has a concise anthropological response: 10 fundamental thought is in relationships, in the full utilization of totem 2.
This means that for Levis-Strauss, beyond the site, which is set according to the order of the function-what is important, what matters are the relationships. Aesthetics, if you start from the anthropological conception could systematized through a structured chain corrleatos for those correspondences that converge to demonstrate, selflessly, as you must set the social production linked to leisure, the world's understanding and evoke circulating through the recovery of images, or are synthesized by signs to socialize in their own production, or exorcise forever forgotten.
Genaro Phillips (1955), in its enactments, displays 16 works-Host, turns to the pressures conditioned (and condition still) their relations with a society that tries to testify, to tell of-inclusive-shirts to be provided satisfaction in the whole integration. For the purpose of all art is this: the integration of all to understand and be understood, to imprison and a prisoner. In Exekias, merely totem molt, the decorative, functional piece of pottery, became presence in totem thinking as Levis-Strauss would say, because the producer annexed, beyond the established and planned, beyond the customary and usual the critical foundations of a third speech.
Through its enactments, Genaro Phillips memorial restored from the depths of his past, articulated and disarticulated, ascending and descending the stairs of the assimilated and forgotten, on learning that her generation-that wonderful and amazing generation of 80 - although with different nuances in intensity and brightness to those produced by the Generation Curse of 60 (he endured the final onslaught of Trujillo, the death of Manolo, the Coup Bosch and the April Revolution), has had to become catharsis : The suicide of a president, the imprisonment of another, the populous of 84, the fall of the great dreams and, above all, the birth of the simulation as a way of life. That catharsis, coupled with the pursuit of a purely exploratory art, has enabled this century in the country to build up enough creative energy to establish a definitive aesthetic structure.
A Phillips, then, is to observe and study it from that context, from the same crossroads in the academic, initiated in early 40's, is interrupted by an assault precipitated from the hyper, for the rain, by the constant bombardment style, masks, and mirrors rumblings from social speakers with cable television to the head and annexed with fury to all our social traumas staring wildly in all fields of historical development which begun to vary his pace. and here, in estemomento of tangles and starts, the precise moment to try to determine the events that converge to shut down a generation and give input to another, where they set up what should be a break of celebrations and farewells.
In these recollections, Phillips arises, to pass to the readers of the sample, three fundamental issues that could shed some light on this issue:
I. The past as the ancestor, hell and possible forgiveness. Phillips evokes the witnesses to a process in which desecrates the wrong concepts of learning tortuous and reviews, even under tight budget, to a society that, despite its technological process, continued his career segregating.
2. The loneliness. As an esthetician, and insatiable search of some hidden pleasures, only able to be found in cortex penetrated deep memories, Phillips, emulating the old solitary ascetics explores worlds of the insane, or the intellectuals and all those caught up in contemplation, inner or outer, of society itself.
3. Indifference. If the church was restructured today, indifference would be recorded, including the seven deadly sins. Could even make a half stupid question: Can the indifference become suitable material for the construction of an aesthetic? Genaro Phillips-there, hanging in the space of the sample-is the answer.
These issues mentioned by Phillips fall almost perfectly into the knot of the joint and disruption of impressions that correspond to the initial budgets set by generations of heirs, and whose initial production misapplied mimicry on the one hand, and wishes to be paradigms in the redemption and perpetuation of art, on the other, are attached to or engage in poorly developed talents in these comings, were drilled and, in most cases, destroying them. Therefore, there is no doubt that Phillips also enters these reflections and transcendent aesthetic trends inherited from previous generations to take them as a continuum challenging. There are, as a clear example, your loan hits springs used by the master Ramón Oviedo in his palette and dump them in his work: the systematic operation based on pre-applied to texturizers discovered later by rubbing and scraping, the resulting glazes, and the organization and disorganization of dibujística that without deep into the anecdotal, describing the unexplored jungle of life in fifth patios. These links operate a thematic focus that links-like in a match-to the possibility of cut-off, the protest scene is unearthed from the same background color as red crush, budgeted to infection, as emaciated as backgrounds of hope that the deciphering of the signs, or muted from the complicity of learning, or establishing a correspondence with the compromise, but never - to make it clear! - borders the difference, what do I care!
Phillips, and with it - just to name a few-Luz Severino, Elvis A vile, Diogenes Abreu, Jesus Desangles, Radhames Mejia and Gabino Rosario, along with other components of the Generation of 80, have come, perhaps, the most difficult and obscure in the individual off to an aesthetic of bright, factoring product heterogeneity so rich and vital phenomenon could only be compared to the starring ENBA first class of the late 40's. While this first class academies matrices followed as far as the Spanish and German, Generation of 80 followed the signs of an aesthetic to which Levi-Strauss, for fitting in the expressivist-des of primitive peoples and peoples civilizados3 deter-mined as disinterested thought, MATCH (signals themselves) with this terrible trend which moves dangerously fast and aesthetics: the utilitarian art. That climbing route of communication as opposed to the new prophets and that it is part, as the comics at the time-of modern life.
This show definitely must applaud the enthusiasm with which it enjoys a ripening period, a rise in organicity same talent. Genaro Phillips, from these enactments, must tracing their own path, away, not only of early influences, but their own totems. these demons hidden in indifference endured frightening when dreams looked so distant and now are only memories.

GENARO PHILLIPS
An artist to take into account
By Marianne de Tolentino

Will now open a small parenthesis, valid for Genaro Phillips and other artists. It is forming a young artistic movement, more in keeping with the Latin phrase, which always reinvents reality, which hints at the emotional tracks usually pronounced, that does not stop at plastic or stylistic limitations. The authors not only expressed through the work, but also ... the work, their concerns, read and documented references. Dominican influences come mainly from Oviedo and Ivan Tovar, sometimes also by Alonso Cuevas, but different personalities are being designed. In sculpture, Martínez Richiez Luichy no longer has a significant presence for the new.
Close the parenthesis
... The title sample Genaro Phillips is long and roughly equivalent to a list: "man, machine, reed land, wagon, oxen, and then bullocks, land men, night! Oxen, man, night "... It is part of freedom of the artist, pointing to the public the various reasons that has been placed on the image ... and wants to see and understand.
However, in this intense visual poetry that lives in the paint Genaro Phillips, in their morphology at once precise and mysterious, we attracted much plus the sign itself or the world mean that identifiable representation. First, the fusion retains the look of space so important to the nocturnal color of blue, blue. Then the artifacts structures, usually two in each table, intrigued by its baroque variable and often floating placement, although some are more established and is related to overlapping of Giudicelli.
The brightness, based on points or areas di-minutes, helping to build the transcendental atmosphere as short beeps that pierce the silence. Interesting is also the aspect of material and factural, which alternates successfully, without sensationalism, plain and emergent treatment of the pigment.
Rarely long for an artist to expand their formats. But in the case. Genaro Phillips, a more exalted level both achievements aesthetic and technical thoroughness. Would be more "significant" and clearer volveríanse theme-figurative allusions, but we repeat, we can dispense with the identification observable. Dedicate a nice mention on thumbnails sculptural wire, one of them tells us in another dimension and material to "Cabeza de Toro" by Picasso.
Genaro Phillips a young artist to be reckoned within the artistic flowering Dominican ... GENARO PHILLIPS
By Laura Gil
With the title "All about folklore, and a technique that accounts for equity paint and Ramon Antonio Guadalupe Oviedo, Phillips's work assumes a character of unveiling, which suggests the very genesis of the forms, and also of inquiry that goes beyond the anecdotal folklore through a combinatorics of signifiers, which brings together the everyday symbols of Creole forms related to the iconography and visual grammar of Taino art, such as schematic anthropomorphic pictographs or trigonolitos, which, once introduced a spirit of deliberate childishness, we refer such as Joan Miró and Paul Klee, the Neolithic immemorial, making way for the reason and universal iconography by way of deepening the same.
The compositional organization is an interesting aspect of Phillips's painting, it is essentially to four sets of distribution of clearly defined visual focus.
The first recorded a concentration of ways, releasing large empty spaces, similar to their own paint semi-abstract landscapes Oviedo and EISA Núñez.
The second, corresponding a large mass in the foreground, usually a trigonolito, which occupies most of the image.
The third involves a uniform design, devoid of compositional tension of pictographic signs, which in turn continues to evoke the resources of the paintings "texture" of American Abstract Expressionism.
Finally there is the serialization chains, reminiscent of Antonio Guadalupe triangulations, but in a more organic.

GENARO PHILLIPS
By: Mariano Lebron Saviñón

Genaro Phillips, Dominican artist exemplified admirable vocation and strong creative skills in their art extrovierte soul estremecientes rich in experiences.
Phillips has a rich history over at the auspicious of artistic world of his homeland and, even more auspicious, very serious about his art, is the rate of interest of his life, whose concern, according to his own words, is "life, overcoming, effort, man, has a full concept of the artist's responsibility in the tempering of the storms that hit the world so troubled today by unusual contingencies. Part of this dense and worker group has been called "Generation 80".
In 1983 his first exhibition of paintings of Fine Arts, on the occasion of having completed his studies there, and in 1985 the first solo performing, and that their participation in Biennial (Bienal E. Leon Jimenez and Santiago -1983 -. the XV Biennial of Visual Arts, Gallery of Modern Art in the same year) and other demonstrations, collective, especially in front of the '80 generation, has committed to a collective work is the expression of a generous unusual activity in these matters.
If the paint is art for the comfort of dejected hearts, in the sense of Van Gogh, whose soul was a bog which wrecked his impulses tormented, only calmed his miraculous visions French midday sun, Phillips can do with his painting ponded life. For his art, abstract figurative, sometimes disconcerting, as stormy creations Paul Giudicelli, who so admires, showing full command of drawing and color, with a great balance for an eye perceptible dowser.
The, study relentlessly. It has creative power and limpid feelings.
Much will offer in the future so promising to him.

GENARO PHILLIPS
By: Shifra Goldman

Professor, critic and art historian, is author of one of the main text catalog "Caribbean Visions." American, living and working in Los Angeles, is particularly interested in the art of Latin America and the Caribbean. He published a book on the subject. Shifra no surprise that Goldman has been the professional in charge of writing about the Hispanic Caribbean, the text is very extensive, even the part that concerns the Dominican participation. We will just translate the statements that seem more important as a first for our readers.
PHILLIPS, having lived inside the country, Phillips found the work exhausting and miserable situation of the Haitians temporary laborers who cut the cane and still use oxen for transport to the Mill. This has evoked the historical memory of African slaves during the colonial period as "something very sweet odor and bitter story," Tales Images were instrumental in their series of 27 paintings from 1983, entitled "When the night falls on the plantations and cattle disappeared." The oxen became a metaphor for the strenuous work of the slaves that criminalize under threat of the whip. These works reiterated in a more poetic and even legendary, his earlier abstract works cane and wit. Night is the only time the oxen and slaves may rest.
Genaro Phillips previously combined elements Taino and African artifacts and more as a social poetic surrealism, calligraphic markings, geometry, linear and saturated tropical colors, while his more recent works have evolved in a different direction. Wifredo Lam's influence is pronounced, many of the erotic symbol: the Lam (breasts and testicles) distortions elongated horns, heavy foliage and African sculptural references reappear, but in a much more codified in the palette that the Cuban maestro.
The application is personal as well as tropical. Indeed, "Tropic II" (1989) includes what looks like a horned seat in the shape of an animal humorously inscribed on the back as a plant equipped with testicles is metamorphosed into an arrow pointing to the moon and ends as a house plant in a pot. The greens, blues, purples, whites and black dominate. Front (inside a cold forest with a chair while blazing red and yellow and orange textured sweep the top space, radiation from a fierce sun. With this work and the imposing diptych "My Subconscious." (1989). In which powerful organic forms . hearts and arrows are defined but are not dominated by the calligraphic lines and brands, seems to suggest a new direction mature.