Non-formal representation of three anthropomorphic figures in black that are shown on a red surface, similar to a boat, performing activities that denote fishing. They are presented with the broad torso and both arms, legs and hands, with some squalor. One of the figures is observed sitting and the other two standing. Of the faces, it is only possible to identify the slanted eyes and the mouths and noses made with solitary lines. Draw attention to two spheres of different sizes that are placed in the background, behind the subjects. Of these, the largest could denote the sun, due to the intensity of the red with which it was created. The other one is shown in a lighter tone, to the right of the previous one. The fishing net is elaborated with interwoven lines and one of the fishermen, holds with a thread what appears to be a fish, perhaps a sting or tuna, represented in blood red. The whole piece offers contrasting colors, highlighting red, black, white and pink tones. In it, different layers and strokes of paint that were made to build the scene are detailed, and that could correspond to the exaltation of the textures mentioned by Cándido Gerón (1986) to refer to the artist's pictorial work. The whole image can in turn connote the idea of heat. For its part, this piece could give indications of the representation of Liz's dominance through the social-marginal, as Jeanette Miller (2004) refers.
About the artist:
Domingo Liz, who was a sculptor, painter and draftsman, graduated from the National School of Fine Arts and received special guidance from the sculptor Manolo Pascual. From 1950 to 1953 he studied painting with Jaime Colson. In 1968 he was a founding member of the Proyecta group. He presented his first solo exhibition at 1971, at the then National Gallery of Modern Art, now the Museum of Modern Art of Santo Domingo.
Liz is one of the indispensable Dominican creators when critically and reflexively evaluating the history of national art. His role as a multidisciplinary artist, provocative of ruptures and deeply coherent in his production, adds to the importance of his renovating role and his position as teacher of generations. Danilo de los Santos (1978) places the artist within the so-called first two generations of Dominican artistic modernity.
Other works of the artist that are part of the Eduardo León Jimenes Art Collection are the Drawing (1964) and the sculptures Origin (1966) y Origin No.2 (1966), all of these, winners of the first two editions of the Eduardo Leon Jimenes Art Competition in their respective categories.