“Carlos Enríquez” Professional Academy of Fine Arts (2007-2009).
“Hermanos Saiz” Asociation of young artists (AHS).
2017 States of soul, Julio Girona” Art Gallery, UNEAC, Manzanillo, “November,.
2015 Two coats of green and a sky piece, Julio Girona” Art Gallery, UNEAC, Manzanillo,
2012 “Grosso Modo”, AHS, Manzanillo, January.
(Conversion), “Carlos Enríquez” Professional Academy of Fine Arts, Manzanillo, September.
2019 “Retrospective”. Carlos Enríquez” Gallery. Manzanillo, Cuba.
2017 “Diez de Octubre” City Salon, “Carlos Enríquez” Art Gallery, Manzanillo.
2016 “Leodán González” Visual Arts Salon, Julio Girona” Art Gallery, UNEAC, Manzanillo.
First Drawing Event, “Julio Girona” Art Gallery, UNEAC, Manzanillo.
“Julio Girona” Provincial Salon, “Julio Girona” Art Gallery, UNEAC, Manzanillo.
Collective exhibition, AHS, Manzanillo.
Collective exhibition, “Carlos Enríquez” Art Gallery, Manzanillo.
The Cry, “Carlos Enríquez” Art Gallery Manzanillo.
2015 Fertile truce, AHS, Manzanillo..ovember,
White painting, black card, “Julio Girona” Art Gallery, UNEAC Manzanillo.
“Julio Girona” Provincial Salon, Provincial Center of Visual Arts, Bayamo.
From the lens to the eye, invited artist with Ingrid Santos and Lucasinet Boscot de Miladed, XIIth Havana Biennial, Galiano Gallery.
Collective exhibition, “Manuel Navarro Luna” Promotional Center of Literary Culture, Manzanillo,
This is not a stamp, “Carlos Enríquez” Art Gallery Manzanillo.
2014 Dialogues, AHS, Manzanillo.
“Diez de Octubre” City Salon, “Carlos Enríquez” Art Gallery, Manzanillo.
(Drama, cosmos, light), “Carlos Enríquez” Art Gallery, Manzanillo.
(What doesn’t exist), Bipersonal, AHS, Manzanillo.
Works in private collections in Chile, Jamaica, United States, Solomon Islands, Uruguay, France, Italy, Canada, Switzerland, Germany, Spain and Denmark.
Cover illustration of: “Instrucciones para espantar el miedo” (Instructions to frighten the fear), by Jorge Luis Peña Reyes, Mínima Pieza Colection, Sanlope Editorial (Las Tunas, 2013).
Awards and recognitions:
2017 Mention (“Diez de Octubre” City Salon.
2016 First Prize (“Leodán González” Visual Arts Salon.
Mention “Julio Girona” Provincial Salon.
2015 Collateral Prize (“Julio Girona” Provincial Salon.
2014 AHS Collateral Prize “Diez de Octubre” City Salon.
2009 First Prize (National Festival of Plastic Arts, Santiago de Cuba.
Carlos R. Escala Fernández: “Elegía en clave pictórica” (Elegy in pictorial key). CdeCuba, Nº 22, April, 2017 [on line] http://cdecuba.org/katerine-de-la-paz/ and
Yainier Salazar Benítez: La cuarta ley del movimiento (o la nueva piedra de Newton) [The fourth law of motion (or Newton’s new stone)] [on line] http://www.ahs.cu/la-cuarta-ley-del-movimiento-o-la-nueva-piedra-de-newton (April, 2017)
Carlos R. Escala Fernández: La liebre y la tortuga: variaciones abstractas de un paisaje irreal. En torno a la obra de Katerine de la Paz Herrera (The hare and the turtle: abstract variations of an unreal landscape. Around the work of Katerine de la Paz Herrera.) [on line]
Liannys L. Peña Rodríguez: “¿Amar el cambio? ¿O cambiar lo amado?” (To love change? Or change what is loved?). La Campana, Bayamo, April, 2015.
Critical analysis of his ouevre.
Elegy in pictorial key
…we had found ourselves deep in a dream,
pasty and green as the river from the gate…
Antonio Benítez Rojo (Buried statues).
With the application of The Lacemaker de Vermeer, Katerine de la Paz continues her labor. She have followed without realizing the advice of Rainer Maria Rilke to a young poet from the military academy near Vienna. Nevertheless, very little there is in common among the cadet Franz Xaver Kappus, avid of a guide which drove him by paths of the creation, and this young woman who walks firmly in pursuit of her dreams.
What it was the compulsive product of intuition and the unstoppable desire to do without pause in previous stages, now is shown, no less active, but with the seasoning of patience, in a more lyrical and reasoned language fruit of loving task. Like in words of the own Rilke, all beauty is a quiet and persistent form of love and desire.
Sometimes in the past it could be noted certain imaginary traces of specific moments of Lovis Corinth or Clyfford Still in the canvas of Katerine, by those who suffer some references obsession. Or perhaps they could perceive a few formal confluences, at least. But actually they have not occupied any space of her universe, due to their birth of an intimate need and not from a vague aesthetic pilgrimage through the old fashion halls of the twentieth century.
Their innate curiosity and unsatisfied spirit have received the stimulus of a visible maturation of the pictorial resources. That’s why there can be seen reminiscences of Winslow Homer, Turner, Whistler, Caspar David Friedrich and even, if you like, of Van Gogh’s “Wheat Field with crows” and Hokusai’s prints. Oh, the fatuous vanity of who is frightened by the new, who lost the infantile capacity to cry in view of sublime things!
Her works resist comparison while she makes an usual gesture. She is no longer surprised by the frustrated attempt of interpretation that expresses itself as a resounding achievement of erudition, or as a Socratic doubt or humble perception of the miracle. No, the lacemaker discards the sketch. She works every day armed with her emotional intelligence. On the apparently flat bottom, whirlwinds, fleeting clouds, furrows, or drippings and there are semiautomatic strokes which dance to the compass of the image that Is, that populates her conscience. As in the words of Severo Sarduy, she has gone out to use chaos, to summon fate, to insist on the imperceptible, to privilege what is unfinished.
The paratextual games of her previous works cede some space to the experience of plasticity of pigments, which she insists on putting in canvas, layer by layer. She does it until finding the nuance and the expected effect, or perhaps one that emerged randomly. There is no figure or background, levels or dimensions (they are superimposed or merged together). There is only an infinite field in which the gravitational certainties of the anthropocentric universe are transposed. Sky, Earth, Sea … are they here?
It may be seen the fulfillment of Kandinsky’s concept that the artist not only can, but must use the forms in the manner he needs for his purposes. There is no tyranny here or Machiavellian games between methods and goals. It expresses a new desire to share her journey in the face of the experience of different personal circumstances that do not change the past, but they shape the present while it goes along. The touching power of this stage acts on the perception, in its philosophical and psychological senses, such in a way that in front of her works by the first time, a friend of her could only say: there I see the four states of the soul.
The spirit is unfolded freely and it is flowing a feeling of warmth, even in view of the coldest chromatic combination. Katerine doesn’t join herself to the pictorial use of meanings aseptic and conventional. She resorts to the musical and literary lyricism born of his artistic vocation and personal sensibility and does not avoid or satanize the darkness of the night, nor the coldness of an iceberg. On the contrary, she vibrates with romantic chords in her expressive vision of the abstract.
As in each exhibition or single piece, there is always something of the previous series. The intuitive and conscious search process which is perceived at the same time talks about her evolution. If someone try to locate their paintings according to the three sources or classifications of Kandinsky (impressions, improvisations and compositions), she will be in an intermediate level between the last of them, because intuition and reason try to find balance by using her sensitivity aesthetic-emotional as vehicle.
This creative soul sings in a constant state of introspection and autoanalysis, of expression and wish of a psychosomatic reality, of the being and its aspiration. The internal sound of the form would be illegible without the mystical content that emanates from an eminently poetic comprehension of the world that balances any restlessness. It overflows the limits of the canvas and it’s transmitted by contagion at the first glimpse of the paintings by those profanes that dare to tread its miraculous space.
Source: Carlos R. Escala Fernández: “Elegía en clave pictórica” (Elegy in pictorial key). CdeCuba, Nº 22, April, 2017 [on line] http://cdecuba.org/katerine-de-la-paz/ and