Ópalo de Fuego con impurezas I 2022, diptych, acrylic on canvas, 240 x 280 cm. Photo: © José Yaque
Euclasa con impurezas I 2022, acrylic on canvas, 195 x 145 cm. Photo: © José Yaque
Escolecita con impurezas I 2022, acrylic on canvas, 270 x 190 cm. Photo: © José Yaque
Agata de fuego con impurezas I 2022, acrylic on canvas, 270 x 190 cm. Photo: © José Yaque
Fergusonita con Impurezas I 2022, acrylic on canvas, 270 x 190 cm. Photo: © José Yaque
Bismutita con Impurezas I 2022, acrylic on canvas, 247 x 190 cm. Photo: © José Yaque
Corindón azul con impurezas I 2022, diptych, acrylic on canvas, 310 x 370 cm. Photo: © José Yaque
Tumba Abierta 2020, glass bottles, water, plant residues, 275 x 310 x 30 cm. Photo: Giovanni De Angelis
Mimetita II 2019, acrylic paint and enamel on canvas, 240 x 310 cm. Photo: Giovanni De Angelis
Linarita VII 2019, acrylic paint and enamel on canvas, 240 x 310 cm. Photo: Giovanni De Angelis
El dilema del ciempiés , 2019, wood, Cuban pine boards. Ph Nestor Kim
El dilema del ciempiés , 2019, wood, Cuban pine boards. Ph Nestor Kim
Origin (Part I of the exhibition series 'The artwork that interests me') , exhibition view Galleria Continua, Habana, with the artist José Yaque in synergy with works by Anish Kapoor, Photo Michel Pou
Origin (Part I of the exhibition series 'The artwork that interests me') , exhibition view Galleria Continua, Habana, with the artist José Yaque in synergy with works by Anish Kapoor, Photo Michel Pou
Origin (Part I of the exhibition series 'The artwork that interests me') , exhibition view Galleria Continua, Habana, with the artist José Yaque in synergy with works by Anish Kapoor, Photo Michel Pou
Alluvione d'Arno , 2017, exhibition views Villa Pacchiani Centro Espositivo, Santa Croce sull'Arno, Pisa, Italy, Photo Ela Bialkowska
Alluvione d'Arno , 2017, exhibition views Villa Pacchiani Centro Espositivo, Santa Croce sull'Arno, Pisa, Italy, Photo Ela Bialkowska
Alluvione d'Arno , 2017, exhibition views Villa Pacchiani Centro Espositivo, Santa Croce sull'Arno, Pisa, Italy, Photo Ela Bialkowska
Alluvione d’Arno , 2017, mixed media, ambient size, Photo Ela Bialkowska
Devenir , 2017, Several industrial waste from production cycles, primarily the leather, footwear and textiles, ambient size, Photo Ela Bialkowska
Devenir , 2017, Several industrial waste from production cycles, primarily the leather, footwear and textiles, ambient size, Photo Ela Bialkowska
Devenir , 2017, Several industrial waste from production cycles, primarily the leather, footwear and textiles, ambient size, Photo Ela Bialkowska
TUMBA ABIERTA II , 2017, 3473 glass bottles, water, plant residues, Photo Oak Taylor-Smith
TUMBA ABIERTA II , 2017, 3473 glass bottles, water, plant residues, Photo Oak Taylor-Smith
TUMBA ABIERTA II , 2017, 3473 glass bottles, water, plant residues, Photo Oak Taylor-Smith
Azurita I , 2017, acrylic paint, enamel on canvas, 190 x 270 cm, Photo Ira Kononenko
Azurita I , 2017, acrylic paint, enamel on canvas, 190 x 270 cm, Photo Ira Kononenko
Calcita II , 2017, acrylic paint, enamel on canvas, 270 x 190 cm, Photo Ira Kononenko
Falla III , 2017, acrylic paint, enamel on canvas, 310 x 380 cm, Photo Ira Kononenko
Falla III , 2017, acrylic paint, enamel on canvas, 310 x 380 cm, Photo Ira Kononenko
Agujero de gusano , 2016, ladder, tools, 130 x 31 x 5 cm, exhibition view "Nido sin Árbol", UNAICC Unión Nacional de Arquitectos e Ingenieros de la Construcción de Cuba, 2016, Photo Paola Martinez Fiterre
Agujero de gusano , 2016, ladder, tools, 130 x 31 x 5 cm, exhibition view "Nido sin Árbol", UNAICC Unión Nacional de Arquitectos e Ingenieros de la Construcción de Cuba, 2016, Photo Paola Martinez Fiterre
Agujero de gusano , 2016, ladder, tools, 130 x 31 x 5 cm, exhibition view "Nido sin Árbol", UNAICC Unión Nacional de Arquitectos e Ingenieros de la Construcción de Cuba, 2016, Photo Paola Martinez Fiterre
Agujero de gusano , 2016, ladder, tools, 130 x 31 x 5 cm, exhibition view "Nido sin Árbol", UNAICC Unión Nacional de Arquitectos e Ingenieros de la Construcción de Cuba, 2016, Photo Paola Martinez Fiterre
Scavare , installation view Galleria Continua, San Gimignano, February 2015, Photo Ela Bialkowska
Scavare , installation view Galleria Continua, San Gimignano, February 2015, Photo Ela Bialkowska
Scavare , installation view Galleria Continua, San Gimignano, February 2015, Photo Ela Bialkowska
Gravedad , installation view Galleria Continua, Les Moulins, June 2015, Photo Oak Taylor-Smith
Torre , 2015, window, site specific dimensions, Photo Ela Bialkowska
Torre , 2015, window, site specific dimensions, Photo Ela Bialkowska
Torre , 2015, window, site specific dimensions, Photo Ela Bialkowska
Exhortación , 2015, Traditional Tuscan window and tree, variable dimensions, Photo Ela Bialkowska
Exhortación , 2015, Traditional Tuscan window and tree, variable dimensions, Photo Ela Bialkowska
Exhortación , 2015, Traditional Tuscan window and tree, variable dimensions, Photo Ela Bialkowska
Gravedad , installation view Galleria Continua, Les Moulins, June 2015, Photo Oak Taylor-Smith
Gravedad , installation view Galleria Continua, Les Moulins, June 2015, Photo Oak Taylor-Smith
Gravedad , installation view Galleria Continua, Les Moulins, June 2015, Photo Oak Taylor-Smith
Gravedad , installation view Galleria Continua, Les Moulins, June 2015, Photo Oak Taylor-Smith
Gravedad , installation view Galleria Continua, Les Moulins, June 2015, Photo Oak Taylor-Smith
Interior con Huracán , De la serie/From the series: La creación no entiende, 2015, Chairs, papers, plastics, phonograph tape, electric cables, celluloids, Photo Paola Martinez Fiterre
Interior con Huracán , De la serie/From the series: La creación no entiende, 2015, Chairs, papers, plastics, phonograph tape, electric cables, celluloids, Photo Paola Martinez Fiterre
Interior con Huracán , De la serie/From the series: La creación no entiende, 2015, Chairs, papers, plastics, phonograph tape, electric cables, celluloids, Photo Paola Martinez Fiterre
José Yaque: channelling nature
José Yaque was born in Manzanillo, Cuba, a city now known for producing generations of internationally renowned artists. It’s also where nature was instilled in him as an important reality, a never-ending source of meaning and inspiration. A coastal city, Yaque grew up with the sea before him. Horizontality therefore finds a recurring place in his work. From his point of view, nature is the greatest creator in our lives.José Yaque works without a concept of medium or material. Instead he decides to perceive things in relation to other things, taking into account their full complexity, context and status. This indistinction between material and mediums causes a spontaneous approach in his artistic process. He is constantly experimenting, often trusting the initial attraction between himself and an object that inspires him. It’s the object itself that is in charge of inciting the growth of a work. He’s not directly looking for specificities to make a metaphor or a meaning in the work. This meaning comes from the relationship between artist and object and the intangible attraction between the two. His paintings, most recogniseably the “Minerals” series, investigate painting as an object. For Yaque, painting is corporal, done by the body and not the hand. Through painting, the origin of colour is also deeply explored. This is a study that consequentially led him to learning about the geological universe under the earth, rock types and minerals, initiating a dialogue with an underground world.