Johnny Bonnelly is an artist from Santiago de los Caballeros, born in 1951. He studied Urbanism at the University of Paris 8 in Vincennes, France, after completing a degree in Architecture at the National University Pedro Henríquez Ureña de Santo Domigo, Dominican Republic.
Among the individual exhibitions he has made are: From extras and other deities, Consistorial Palace, XXII National Biennial of Visual Arts, Museum of Modern Art, Santo Domingo, Dominican Republic; Stories of a monument, Gallery of El Espacio, Santo Domingo, Dominican Republic; Works of the 87, Nouveau Art Center, Santo Domingo, Dominican Republic; The appearance of the simulacrum of existence, Dominican-American Cultural Institute, Santo Domingo, Dominican Republic; Mirrors and mismatches, House of Theater, Santo Domingo, Dominican Republic; Once upon a time the object woman, Nouveau Art Center, Santo Domingo, Dominican Republic.
In his artistic work some monumental works are listed. These have been:
- 2009 Vitrola. From the series Arte po, po, po, popular. Juan Bosch Metro Station, Santo Domingo, Dominican Republic.
- 2009 Almaquas (Soul of water). Avenue of the Americas, Santo Domigo, Dominican Republic.
- 1985 Image, myth and time. Gallery Art Center, Santo Domingo, Dominican Republic.
J. Bonnelly has been recognized several times. In 2005 obtained an honorable mention for the work Installation in the XXIII National Biennial of Visual Arts held at the Museum of Modern Art in Santo Domingo, Dominican Republic; in 2004 got a mention in the XX Eduardo León Jimenes Art Contest, which the León Center calls; at 2003 he won the third prize of Sculpture of the XXII National Biennial of Visual Arts that the Museum of Modern Art of Santo Domingo, Dominican Republic and several others that emphasize their knowledge about art and sculpture, in particular. He was awarded one of the three egalitarian awards XXIII Eduardo León Jimenes Art Contest for the realization of this work.
"Once the spontaneity of the spoken word broke me, but I did not keep quiet, I continued to live in. With the architecture and urbanism studies I knew the form, the volume and the space, the subject, the user and the spectator inside the work I felt equipped to dialogue and I understood that the work of art ends in the viewer, in my work I practice the game, the spontaneity, the humor, the irony, the touch and the contact, the evidence of what is in sight and you can not see it ", says the artist about the topics he deals with in his works and his intention towards the public.
"I have fused forms of expression: music, dance and theater, I think I pursue cinema, but I still do not get it." Photography began to seduce me, I have not denied myself, in the sculptural aspect, the resource economy led me to build volumes through the superposition of plans and the freedom of expression that allows us to have no limits with materials. ready - made fascinates me, and I resort to any ingredient that my work requests. I'm not a sculptor because I do not sculpt, I think I'm a multidimensional artist "(sic).
About Helicopcity, Johnny Bonnelly says: "This installation appears as a landscape sketch, stereotyped by architectural and urban spaces that jump from the mirrors of the hegemonic cultures, over the heads of the" emerging "nations that, like ours, skate over the nostalgia for a permanent boiling identity, while, during his apparent eternal adolescence, traces commercial, housing and institutional infrastructures that exhibit, as in a movie, schemes of pleasures altered by excess technology, communication, pollution and consumption.
"As a set that recreates the aesthetics of skyscrapers (" cathedrals of capitalism ", according to Le Corbusier) and supports the staging of a globalized spectacle that requires consumerism as the ultimate expression of well-being, this show is inscribed in a model ancestral and renewed economic, which uses and promotes high-profit informal practices, whose benefits, are inserted into the system through the washing of assets, significantly supporting the foundations of the world economy.I have chosen recycled parts of washing machines as a material support for this work automatic, assembled vertically as superstructures and by the nature of whirling machines, can induce us to a parallelism with the referred scenario of a society of catatonic cut "(sic).
The work Helicopcity is currently exhibited at the exhibition Genesis and trajectory, inaugurated the past 16 of October of this year in the hall of visual arts María Asensio de León of this cultural center.