reynier ferrer

Ferrer’s first solo exhibition in Texas. The catalogue essay reads his canvases as action painting: figures are drawn in rigorous mark-making, then buried under thick impasto. It traces a line back to Goya’s Los Caprichos, the source of his 2019 series The Sleep of Reason Produces Monsters, and sees in recent works such as Happy Day, Emotional Rescue V and Secret Garden “a hard-won, yet redemptive and promising future.”

from the exhibition catalogue, art of the world gallery, 2025

His first solo exhibition in Colombia gathered some thirty paintings made between 2017 and 2023, among them Metropolis III, Cambios and Monstruo. The gallery’s text describes a painting that sets figuration aside to propose “a new reality different from the natural one,” built from form, color and line rather than narrative.

galería duque arango, medellín, 2024

In the catalogue, Alejandro Machado Font describes Ferrer’s painting as a kind of diary where all his moods converge: deeply intimate, often anguished, rooted in Cuban color, mid-century Cuban abstraction and New York action painting. He closes by calling painting, for Reynier, “a matter of Faith, an atheistic Faith.”

alejandro machado font, “a work with a life of its own,” miami, april 2023