George Luis Ramon Heinsen Molina

 

B. 1988 - Dominican Republic

George Luis Ramón Heinsen Molina (GLRHM) (1988, Santiago de los Caballeros, Dominican Republic) is a Dominican artistresearcher based in the Dominican Republic.. Trained as an architect, visual artist, and illustrator, his practice spans
installation, sculpture, drawing, photography, video, and research-based projects.

He has participated in major contemporary art events in the Dominican Republic including the XXIX Eduardo León Jimenes Art Biennial (2026), the XXXI National Biennial of Visual Arts (2025), the XVII Eduardo León Jimenes Art Biennial (2017), the
XXVII National Biennial of Visual Arts (2013), and the III Bienal Paleta de Níquel (2010).
His artistic development has been supported through residencies and exchange programs including ARE – Artist Residencies Enschede, The Netherlands (2023), Davidoff Art Initiative (2016), Trueque Residency, Ecuador (2015), and Jaime Colson en
Tubagua (2015). He also participated in the Curando Caribe Circle Program (2024–2025). 

Recent exhibitions include HIPER at Centro Cultural de España Santo Domingo (2025), Figura retórica at Centro Cultural Copey (2024), Ficciones: Rituales y Contratos at Alianza Francesa Santo Domingo (2023), Grijs at B93, The Netherlands
(2023), Mestura at Galería Altos de Chavón (2019), and Savages at Galería Altos de Chavón (2017). His work has also been presented at art fairs including MECA Art Fair (2024) and Red Dot Miami (2023).

He currently lives and works in Santo Domingo, Dominican Republic, where he combines his artistic practice with teaching
and cultural projects

Artist Statement.
My early childhood was spent in Cabía, where my maternal grandmother’s house is located—a rural hamlet in Puerto Plata. In that house, thirteen relatives lived together as a harmonious, pluridiverse family, a state where stereotypes did not disrupt our horizontal dynamics. That is the space I attempt to return to, in order to emancipate myself and think from within it.

My research frames the Caribbean and its diaspora as a syncretic and mutable entity in constant reorganization. Ultimately, my goal is to understand us as syncretic materials that are constantly restructuring themselves along with all the other materialities and atmospheric conditions —who reorganize perception, proximity, memory, and temporary forms of community. In short, an ecosystem of relational materials.
Much of this research stems from my experiences in Cabía. There, social interactions flow continuously between interiors, sheltered outdoor areas, plant shade, and the nearby river. These diverse environmental layouts directly shape how people
gather, move, and behave collectively.


These experiences have deeply influenced how I view the Caribbean—not just as a cultural identity, but as a relational and atmospheric structure in perpetual reorganization. In the long term, this research will ground the development of installations and spatial experiences designed to activate intuitive forms of coexistence, atmospheric perception, and collective interaction, with the ability to restructure/adapt to
different environments, within the contemporary Caribbean and its diaspora.
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