Noel Dobarganes is a Cuban visual artist born on September 21, 1977, in Matanzas, Cuba. He undertook his studies at the Roberto Diago School of Plastic Arts in his hometown from 1997 until his graduation in 2000. In these formative years, he primarily immersed himself in the realm of lyrical abstraction. His work from this period is distinguished by the rich depiction of organic, fluid, and gestural forms, aiming to evoke emotions and sensations. His references at this stage include Wassily Kandinsky and Joan Miró. Critics have noted that, during this phase of experimentation with abstraction, his work is characterized more by a manifest delight in the pictorial act than by a need to meaningfully align all the intertwined elements in a filigree fashion.

Following several exhibitions in his hometown and Havana, he traveled to Portugal with a collective project titled "Sensuality." From this experience, his contact with the European art scene became more regular, and his work began to navigate new paths, less tethered to abstract art. During the first decade of the 2000s, amidst the circumstances of the economic crisis that was gripping the island of Cuba, he undertook various curatorial projects in Europe, such as the collective exhibition "Gazes and Styles" (2004) at the City Hall and at the Palazzo Papessa in Siena, where he also participated as an artist.

In 2008, he left the island and settled in Florida, where he immediately continued his work. In 2011, he began a new phase, progressively intertwining abstraction with figuration. Once figuration was established as the guiding principle, his personal poetics attempted to resort to time and memory as fundamental axes. However, much of his work in recent years seems to be more an explicit homage to the mystery of Creation.

Thus, his proposition revolves around the relationship between humans and nature, the observation of the past from the ephemeral circumstances of the present. The persistent echo of the organic world is fundamentally manifested in recurring representations of living beings and, above all, in the celebration of feminine beauty. Over these years, he has also dabbled, albeit briefly, in sculpture and ceramics.

Notably, he has remained devoted to the discipline of painting, despite the stigma of frivolity, formal onanism, and commercial convenience that this discipline has suffered in the Cuban context in recent years. Several critics have observed that his style, beyond his personal statements, is built upon intertextual appeals that tend to traditional Western cultural fabulation. This trend is observable in his series of portraits, almost all inspired by the archetypal Renaissance madonna. Color, on the other hand, is a significant element within his work. His palette freely traverses the entire chromatic range, though he carefully avoids dark and lifeless environments, concentrating instead on bright and vibrant atmospheres. Today, his style is recognizable by an almost compulsive use of textures, implied or real, which in any case tend to invite the pursuit of sensory experience. Some specialists consider him an imperatively baroque painter.