Trained in the arts from childhood in her native Honduras, Evy Pineda’s artistic personality bears the unmistakable stamp of her homeland’s traditions, which critics note include a strong “geometric” component, a preference for the “outsider artist” approach and a vivid palette of elementary colours which over time has become more evolved through a process of cultural fusion.
Pineda has undertaken extensive travels in a search for a better life, leading her to Colombia, Finland, all over Europe and finally to her current home base in The Netherlands. The aesthetic influences she encountered in those travels manifest themselves through the strong geometric technique which reminds us of “stained glass, with its thick black contours and the pleasing, colourful, clear forms” creating a seamless fusion with her own ancestral expressions and conveying a sense of discipline.
She readily cites as her influences the Cubists Braque, Picasso and Juan Gris, her Honduran painters and teachers Maury Flores and Dante Lazzaroni, Fauvist painters such as Henri Matisse, Maurice Vlamink, Andre Derein, Kees Van Dongen and Vincent Van Gogh.
Beyond the aesthetic constructs, however, her work has an another dimension that speaks to the upheavals she suffered as a single woman and an immigrant in her travels. Her figures often peer out from the canvas with a quirky smile or a whimsical, ironic expression, as if to remind us that no drama lasts forever, that even saints are imperfect and that hope is the last to die, an echo of her days working in her hometown.
Art and beauty, the silence that accompanies it and the colours that encourage the most incredible fantasy can be a very liberating and healing solution for a hurting soul.
This eclectic convergence of aesthetic elements, life experience and wry observation make Pineda’s work “forceful, poetic, pleasing to the eye, and emotionally stirring,” as another observer has noted.
Evy Pineda’s rise as a Central American visual artist in European and international art circles has been nothing short of meteoric. She began painting in earnest only in 2009, after encountering great personal difficulties and deciding that she would channel her energies into a positive activity to avoid plunging into depression. Since then, she has exhibited throughout Belgium, Czech Republic, France, Germany, Italy, The Netherlands, Switzerland and the United States.
She exhibited at the World Trade Centre in Geneva, at the Instituto Cervantes and supporting her embassy at The Hague among others. In 2012 she opened her exhibition for women rights entitled “The Sacred Feminine – A Woman’s Right to Herself,” held at the United Nations Palace at Geneva.
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