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Artist Exhibitions:
Born in San Pedro de Macoris.
1970-1972: "Wood Carving".
Centro Nacional de Artesania,
CENADARTE (Under Direction of
scultor Joaquin Priego), Santo
Domingo, dominican Republic.
1970-1972/1974-1978: "Fine
Arts". National School of Fine
Arts. (Escuela Nacional de
Artes Plasticas). Teachers:
Rosa Tavarez, Norberto
Santana, Vicente Pimentel,
Guillo Perez, ...
Further Information
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Artist Galleries:
Village silversmith Gallery
149 Main Street, New York,
Bellport.
Tel. 631-286-1660....
Further Information
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Artist Reviews:
"IN CENTRO PROPUESTA, THE
PRESENCE OF AN ABSENT ONE,
FELIX BERROA"
By marianne de Tolentino.
Listin Diario, 1993.
"Felix Berroa is a
serious,unquiet and
hard-working. he has been like
that since his beginnings. He
has never satified with the
first studies nor his first
success. He has gone...
Further Information
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Collections:
Coming Soon!
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Commissions:
Coming Soon!
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Artist Statement for Felix Berroa
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"The subject in Art has to be found
in the happiness and in the sadness
in the well-being and in the pain
in the beauty and in the ugliness
in the maternal love and in the passionate
in the smaile of a child>BR?
or in the softeness of an old man.
In short, the life, the dreams
and death of all human beings"
Felix berroa, 1881.
"Los temas en Arte tienen que ser encontrados
en la felicidad y en la tristeza
en el bienestar y en el dolor
en la belleza y lo feo
en el amor maternal y en el apacionado
en la sonrisa de un nino
o en la suavidad de un anciano.
En fin, en la vida, el sueno y la muerte
de todo ser humano." Felix Berroa, 1981.
"Para entender un artista no basta con apreciar su tecnica en el arte. Conformarse con eso seria recorrer la mitad de un camino de formas sin preocuparse de lo que alli se pueda decir. Eso seria conformarse con la materia bien organizada sobre un lienzo, papel, madera, etc. Cualquier buen DECORADOR con un entrenamiento basico de dibujo, pintura y un poco de imaginacion puede hacer eso. Para entender un artista se necesita tambien, ademas de la tecnica, enfrentarse al mensaje en sus trabajos, clasificarlo y evaluarlo. Para esto es necesario LEERLO A EL (al artista), a traves de su recorrido en su ambiente vivido y la manera que el ha incorporado estas experiencias con sus sentimientos en el Arte."
Felix Berroa, 1995, Long Island, New York.
"To understand an artist it is not enough with being able to appreciate his art technique. To conform to that will be walk half way through a path with forms without any concern of what there may be said. That will be to conform alone with the very organized "matter" on a canva, paper, wood, etc. Any GOOD DECORATOR with a basic drawing, painting training and some imagination can do that. To understand an artist you need also, in addition to the technique, to face his statement in his works, to classify it and to evaluate it. For this is necessary to READ HIM (the artist), through his distance traveled in his lived enviroment and the way he had incorporated those experiences with his feelings in the Art."
"I began drawing and carving wood and common stones during my childhood in the 60s. From the beginning, it was faces, the human figure, self-portraits, or just a pretty girl who would catch my eye.
My later work had been realistic, but during the last stage of my studies at the Escuela Nacional de Bellas Artes, in the Dominican Republic, my work began to transform into what it is today.
My ability was forged by a team of some of the most recognized artists of the Dominican Republic and Puerto Rico.
In my art, 'the lines' wish to be seen in order to more definitely mark the 'expressions' of our joy, dreams, and suffering. The idea of those 'small lines' was taken primarily from my work as an etcher. By observing the Old Masters of that discipline, Durer, Rembrandt, and others, I assimilated the sort of line that they used to achieve volume and shadow. I adapted to enhance the expressions, not only in the faces of my characters, but in their bodies.
My characters are mostly women and children because I dedicate my attention to those human beings considered in society as 'weakest.' They are actually the most tender and beautiful, the givers and receivers of life.
I mostly paint my characters in abstract surroundings. Our everyday surroundings may be important or insignificant, good or bad, pretty or ugly, simple or sophisticated.
Human beings changes the surrounding; also the surrounding changes people personality."
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