CdeCuba Art Magazine

In general, the artistic discourse of Ernesto Benitez registers a very suggestive and current philosophical and anthropological substrate.

Self-referentiality has a very important role in Gertrudis Rivalta’s work; her roots, her experiences or her condition of Cuban and mulatto woman.

Ernesto Capdevila is a brilliant artist, who sees, hears and feels with great depth. His work is an amalgam of paint, wood and poetry.

Lidzie Alvisa is a conceptual artist who uses photography as a means of creative expression, in addition to drawing, sculpture, installation…

Approaching Hector Frank’s work means confirming once again that the history of art represents a territory mined by the most diverse enigmas.

Hildamaría Enríquez’s creations tend to open a space between whose margins violence, delicacy, lucid contemplation, eroticism, life and death drive coexist.

“Over the shoulder” is a photographic series that addresses two lines of work; the theme of the portrait and my interest in objects as a deposit of meaning.

“My work is the symbolic translation of my critical thinking,” says Julio Lorente just as 60 years of the revolutionary triumph of 1959 are being completed.

The different influences that Michel Blázquez’s work has, we find references such as cubism, expressionism and surrealism.

Tamara Campo’s work is delicate, it exudes elegance and harmony, elements that do not contrast with its dimensions, but rather complete it.

Ernesto Gutiérrez Moya, in his uniqueness, elaborates the fictional content of his visions, above any tyranny of subjection to the reality of contexts.

Serlián Barreto’s work is a kind of writing that endorses the random parking and the insinuating permutations of the baroque space.

The work of Marlys Fuego within contemporary artistic practices is based on the treatment of eroticism as a main theme.

When we stop at Jorge Luis Miranda Carracedo’s works, we can feel the indetermination of a temporary stage, as well as the allusion to a non-place.

The idea as an ephemeral character, focusing on the durability of the footprint. To show what emerges from an event or a concern.

Franklin Álvarez is linked to a deep capacity of dialogue with numerous symbols and references that illustrate Cuban life in the last decades.

Although we must start with what there is, in this case we prefer to do so with what is not there, what is emptied, what is absent or non-existent.

What Alberto Domínguez presents to us are spaces from which the philosophy of the State’s ideological apparatus is exercised and constructed.

Daniel Barrio knows the nuances of loneliness, he talks about emptiness, he knows the inexpressive dummy and the empty soul.

The pictorial work of Juan José Blanco Lozano is the spokesman of a social anguish determined by his existentialist characters and his insular circumstance.

Hyperrealist language is among the preferences of emerging Cuban art and Osley Gil’s work is one of the examples that verify it.

Abisay Puentes, is the best reflection of his painting: an open work, permeated by symbols, keys; where the individual threatens to get lost.

Sandra & Emmanuel’s work is a kind of symbiosis between a modern hyperrealism and a “playful” effort from the representation.

Packaged books, open in a circle, tied with a wire, barely sealed by a strip, appear in the works of Yasiel Alvarez.

Leticia Sanchez manages to regain the ideal intimacy offered by mental derangement, appropriating film frames.

Painting is the medium chosen by Orlando Boffill (Havana, 1964) whose work is characterized by figuration and collage.

The chairs, the colonial slab, the female nude, the timeless and metaphysical space seem to be constant in the pictorial work of Ángel León Valiente.