... a constructive system serves as the basis for practically gestural pictorial work. But, precisely, what Onofre Frías is interested in is to build the surface of the canvas from several processes, not in the historical-plastic sense of a trend. A process is the meticulous preparation of the fabric as the first support, it covers it with a silk that in the course of the realization allows it to achieve transparencies and unusual targets. On this double surface, canvas and silk, he works the images from the inside out, projecting the splendor of color, red, green, yellow, blue, in infinite shades. The silk is intertwined with the forms and in the spaces where it is free of pigment, a plastically active atmosphere is created from its imperceptible grain.
Placing himself in the field of plastic production, proposing a formal proposal that challenges post-modernism, puts him in a position to create a very personal work based on taking geographical space as an underlying iconography. It is a way to make a work of national resonance, but with universal repercussion. Moving away from the treatment of the subject as an independent link is part of the overall concept of a pictorial work that draws on past experiences. The subject can be placed in the field of still life, but in its case, linked to the changes that post-modernism has proposed, as well as to the most current artistic innovations. Selecting a shape, the flower, perhaps one of the most voluptuous, sensual and emblematic of American nature and identify, sensitive and plastically with it, has led him to confer a sign-symbol value simultaneously, without being absent his character enigmatic.
The work of Onofre Frías contemplates and encloses a humanistic motivation that recovers the notion of local culture from irremediably self-sufficient and universal images. His humanist spirit revives certain ideas and formulas that have allowed him to emancipate the form of the fund, reaching essential aspects of his proposal, where paradoxically join different formal resources and the idea he has of the world and nature. In this sense, we find a contrasting concept that goes from the rational to the emotional, that is, from reason to intuition. Process that Frías qualifies as problematizing the space. He has set out to solve his artistic issues from an ethnoplastic vision, that is, the identification of the essence of his local mestizo culture with a planetary conception of art and thought. It proposes, to itself, to order the chaos and to chaotise the order, in the sense of cleaning, visually and conceptually, the stereotype that has of the Caribbean outside the borders of the mestizo culture of the Caribbean.


Belgium Rodríguez