Yoanys Andino Diaz was born on July 27, 1982, in the city of Manzanillo, Cuba. He began studying art at the age of ten through drawing, painting, and sculpture courses at the “House of Culture.”

At sixteen, he entered the “El ALBA” art school in Holguín, where he honed his academic drawing and painting skills.

After completing his studies, he returned to his hometown and became a teacher of academic drawing and painting at the Carlos Enriquez art school. In 2004, 2005, and 2007, he exhibited his work at the “10th of October Salon” in the Carlos Enriquez Art Gallery in Manzanillo.

Yoanys Andino Diaz’s painting does not follow any current trends of contemporary art. He draws upon academic foundations while deconstructing classical models through his painting. What he proposes is a new aesthetic, rooted in a dreamlike world where surreal characters emerge.

In 2009, he arrived in Switzerland and began studying at HEAD – Genève.

Geneva marked a new beginning. There, he began a pictorial journey built on observation, sensations, and a world in which strong roots, trunks, and growing branches come to life. These metaphorical figures echo Nietzsche’s words: “For the branches of the tree to reach the heights, its roots must sink into the darkest, deepest soils.” Of symbols and pigments

The school uniforms of Cuban childhood, the paper boat and its extreme voyage, the eagle — all serve as symbols that reflect Cuba’s political context. Daily life, dreams, and power become raw materials that blend, intertwine, and come to life, from palette to canvas. Colors impose themselves on the painter — the sky’s blue filled with hope, the red of blood shed for freedom, the white of peace and silence, the greens of horizons — fleeting touches of his real and cultural environment. Melancholy also finds its place, as in the painting of “the child with the paper boat in his mouth, like a game,” where characters from Greek mythology appear.

From academic painting, he has retained precision in line and depth, onto which he has layered a modern surrealism, using its codes and variations as a path toward abstract expression. Yoanys Andino Diaz draws from the atmosphere around him. In Cuba, his paintings were clearly iconographic, accompanied by large-scale texts that captured the viewer’s attention. His most recent exhibition, a series titled “Colors of Switzerland,” breathes life into a different context through abstract, synthetic, and controlled lines. This new exploration reflects a turning point in his work — a sign of growing artistic maturity.