This space is the national discourse, linked to the land and the customs that differentiate us and make us more of us, more Dominicans.
Once we stated that it was "common, as Néstor García Canclini already studied with substance, the fact of seeing the Latin American Vanguards as a simple translation of a European language. (...) As migratory, economic and media trans-culturality intensifies in the contemporaneity, it is evident that our language and ways of doing not only become established patterns, but are the result of dialogue and confrontation ". Using these parameters we do not try to disallow the obvious formal and even conceptual contributions of the vanguards and the "isms" in the definition of the creative patterns of Yoryi Morel. Our interest is fundamentally to understand these ways of saying and doing as differentiated processes of identity configuration from discursive resources offered by the environment and the characters. Rethinking that involved an experiential knowledge and a conscious act of apprehension of these elements that Yoryi Morel translated to canvas and paper.
That is why a repertoire based on fundamental lines in: the landscape, the portrait, the traditions and customs, the flora that identifies us, and the tasks that make us be recognized as belonging to a specific space of existence, temporal and territorial. give a very characteristic nuance to the artistic discourse of Yoryi.
One of the most paradigmatic visualizations in the sense of a configuration of identity by Yoryi Morel resides in the treatment of the landscape. If we start from the landscape as a visual resource, first, linked to identity as recognition of the spaces belonging to a specific group; then we must assume in another way the pictorial discovery of the national landscape. And discover with it the light and the chromatism of the Dominican environment. The landscape as a pictorial object in Morel's work progressively becomes a symbol of national identity. But also at the same time it becomes a paradigm of personal identity. Yoryi is the one of the Cibao, the one that resorts to his landscape to transform it and to endorse it like an attempt of recovery of the Creation.
Yoryi also participates in this recreation of "Dominicanness" from the people and characters caricatured, painted and drawn during his creative career. His portraits, in some cases influenced in the treatment of light and space by more traditional and academic tendencies, captured the soul and essence of his subjects. And although he made numerous commissioned portraits, he also characterized himself by painting over and over again popular characters that he felt close to or understood as countrymen. And in these, the affective proximity to their models is clearly reflected in the pictorial product. He portrays Toñé several times, Secundino and at the same time he did the same with his blacks, peasants and fishermen; portraits where what matters least to the painter is the resemblance to the model, reduces the pictorial language to its primary elements that were in essence the embodiment of the Dominican being.
Taken from the book Yoryi Morel Autonomy and Transcendence