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A stylized portrait shows a young woman seated against a wide, pale background. She has deep brown skin with warm orange undertones. Her large, glossy black curls billow outward in thick spirals, framing her face and shoulders like a halo of looping lines. Small white earrings punctuate the dark hair. Her expression is steady and slightly guarded, eyes lifted upward, mouth parted as if mid-thought. She wears an off-the-shoulder dress patterned with delicate flowers with crisp edges that hint at cut paper and wallpaper. Her arms cross firmly at her waist, hands stacked with fingers carefully outlined, nails painted, and tiny marks on the skin. Beside her, a single bird-of-paradise bloom arcs in from the right with a green stem bending like a gesture, carrying sharp red-orange petals that flare near her chest, as if the flower is speaking in bright punctuation.

In the “Bony Ramirez: Cattleya” exhibition, the Newark Museum of Art describes the artist’s practice as shaped by childhood memories of the Dominican Republic and by Caribbean histories, explicitly linking botanical forms to the legacies of colonialism, tourism, and the question of what “resistance” can look like. His repeated use of tropical flowers is not simply decorative. The blooms are read as carrying trauma and miscommunication to be beautiful, but also signaling what cannot be said plainly.

“Strelitzia” ( bird-of-paradise) deepens that tension as a flower native to southern Africa but named through European royal homage, its very taxonomy echoing the entanglement of nature, collecting, and power. Here the stem leans toward the sitter like an inherited narrative that is exoticized, admired, and burdened while her crossed arms and gaze insist on self-possession. She is a contemporary woman refusing to be reduced to “paradise,” holding dignity and interiority in the face of a history that has too often turned people and places into scenery.

A stylized portrait shows a young woman seated against a wide, pale background. She has deep brown skin with warm orange undertones. Her large, glossy black curls billow outward in thick spirals, framing her face and shoulders like a halo of looping lines. Small white earrings punctuate the dark hair. Her expression is steady and slightly guarded, eyes lifted upward, mouth parted as if mid-thought. She wears an off-the-shoulder dress patterned with delicate flowers with crisp edges that hint at cut paper and wallpaper. Her arms cross firmly at her waist, hands stacked with fingers carefully outlined, nails painted, and tiny marks on the skin. Beside her, a single bird-of-paradise bloom arcs in from the right with a green stem bending like a gesture, carrying sharp red-orange petals that flare near her chest, as if the flower is speaking in bright punctuation. In the “Bony Ramirez: Cattleya” exhibition, the Newark Museum of Art describes the artist’s practice as shaped by childhood memories of the Dominican Republic and by Caribbean histories, explicitly linking botanical forms to the legacies of colonialism, tourism, and the question of what “resistance” can look like. His repeated use of tropical flowers is not simply decorative. The blooms are read as carrying trauma and miscommunication to be beautiful, but also signaling what cannot be said plainly. “Strelitzia” ( bird-of-paradise) deepens that tension as a flower native to southern Africa but named through European royal homage, its very taxonomy echoing the entanglement of nature, collecting, and power. Here the stem leans toward the sitter like an inherited narrative that is exoticized, admired, and burdened while her crossed arms and gaze insist on self-possession. She is a contemporary woman refusing to be reduced to “paradise,” holding dignity and interiority in the face of a history that has too often turned people and places into scenery.

“Strelitzia” by Bony Ramirez (Dominican American) - Acrylic, soft oil pastel, color pencil, wallpaper, Bristol paper on wood panel / 2024 - Newark Museum of Art (Newark, New Jersey) #WomenInArt #BonyRamirez #Ramirez #NewarkMuseumofArt #PortraitofaGirl #art #artText #CaribbeanArt #CaribbeanArtist

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Acquisitions muséales récentes / Galerie Bradley Ertaskiran (CA) L’acquisition de ces œuvres par de grandes institutions constitue un moment clé pour le rayonnement des galeries indépendantes québécoises : elle confirme la qualité de leur travail, accroît la vis…

Acquisitions muséales récentes / Galerie Bradley Ertaskiran (CA) brouhahaculture.wordpress.com/2026/01/18/a...

#artvisuel #exposition #musées #galeriebradleyertaskiran #JosephTisiga #bonyramirez #prestonpavlis #brouhaha #margauxwilliamson #AzzaElSiddique

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Bony Ramirez représenté par Bradley Ertaskiran (CA) Né à Tenares (République dominicaine), Bony Ramirez vit et travaille actuellement à Jersey City (New Jersey). Ramirez imbrique dans sa pratique ses souvenirs d’enfance en République dominicaine, se…

Bony Ramirez représenté par Bradley Ertaskiran (CA) mrschnock.com/2025/08/11/b...

#artvisuel #exposition #agac #bonyramirez #galeriebradleyertaskiran #montréal #pictural #sculpturalart #artiste #mrschnock

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Dominican-born American artist Bony Ramirez's moving 2020 surrealist depiction of a sorrowful dark-skinned woman, adorned in a damaged, ornate dress and jewelry, standing amidst tropical foliage, blood staining her garment and the ground, projects a story of trauma and loss ... and healing. Ramirez's piece focuses on the idea of healing after a tumultuous time. The wound is there, it hurts, but the battle is done and now it’s time to heal and recharge for the future.

The artwork was featured in the exhibition "Surrealism and Us: Caribbean and African Diasporic Artists since 1940" at the Modern Art Museum of Fort Worth (aka the Modern) which focused on how Caribbean and Black artists reinterpreted European Surrealism for their own purposes, considering themes of Black resistance and creativity while exploring the intersection of Caribbean aesthetics, Afrosurrealism, and Afrofuturism.

The painting depicts a stylized figure of an unidentified dark-skinned woman, her face etched with sadness and tears streaming down her cheeks. She appears to be of young adulthood. Her expression is one of profound grief. She wears large, gold hoop earrings and a delicate gold necklace. Her attire is a striking off-white, sleeve-less floor-length gown, with its upper portion resembling an intricately designed bodice in blue and white floral patterns which is torn and stained with blood, which spreads down the length of her skirt, pooling at her feet which are elongated and flowing.

The background is a muted olive-green, and the woman is partially framed by a large, lush palm leaf. The green background and the vibrant, stylized plant contrast with the somber mood created by the figure's sorrow and the bloodstains. The stylistic choices by Ramirez contribute to a surreal almost dreamlike quality, making the emotional impact ... and the need for clean-up and healing after a storm ... more potent.

Dominican-born American artist Bony Ramirez's moving 2020 surrealist depiction of a sorrowful dark-skinned woman, adorned in a damaged, ornate dress and jewelry, standing amidst tropical foliage, blood staining her garment and the ground, projects a story of trauma and loss ... and healing. Ramirez's piece focuses on the idea of healing after a tumultuous time. The wound is there, it hurts, but the battle is done and now it’s time to heal and recharge for the future. The artwork was featured in the exhibition "Surrealism and Us: Caribbean and African Diasporic Artists since 1940" at the Modern Art Museum of Fort Worth (aka the Modern) which focused on how Caribbean and Black artists reinterpreted European Surrealism for their own purposes, considering themes of Black resistance and creativity while exploring the intersection of Caribbean aesthetics, Afrosurrealism, and Afrofuturism. The painting depicts a stylized figure of an unidentified dark-skinned woman, her face etched with sadness and tears streaming down her cheeks. She appears to be of young adulthood. Her expression is one of profound grief. She wears large, gold hoop earrings and a delicate gold necklace. Her attire is a striking off-white, sleeve-less floor-length gown, with its upper portion resembling an intricately designed bodice in blue and white floral patterns which is torn and stained with blood, which spreads down the length of her skirt, pooling at her feet which are elongated and flowing. The background is a muted olive-green, and the woman is partially framed by a large, lush palm leaf. The green background and the vibrant, stylized plant contrast with the somber mood created by the figure's sorrow and the bloodstains. The stylistic choices by Ramirez contribute to a surreal almost dreamlike quality, making the emotional impact ... and the need for clean-up and healing after a storm ... more potent.

"Clean Up, After the Storm" by Bony Ramirez (Dominican American) - Acrylic, colored pencil, oil pastel, wallpaper, gold leaf marker, plastic pearls, Bristol paper on wood panel / 2020 - Modern Art Museum of Fort Worth (Texas) #WomenInArt #art #surrealism #artText #BonyRamirez #artwork #ModernArt

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