For Brenda Cabrera, each work is a sort of self-portrait where she lays bare her essence and, as a ritual, connects it to a much larger cultural universe.
The images I create reflect my long held interest in ancient myths, fables and the symbolic aspects in them.
Drawing is the quintessence of painting, sculpture and architecture. It is the root of all art, and whoever masters it enjoys an incalculable power…
César Castillo delves into the folds of a political art in his own way. The figure of the forgotten antihero on the periphery of the local circuit is his theme.
Marco Arturo Herrera’s work is a backdrop for a reality that becomes monochromatic, where the history of a people fades in its impotence.
Uncertainty is a recurring element in Ronald Vill’s production, no strong statements are witnessed, only what is necessary to raise suspicions is revealed.
Drawing manifests itself for Joniel León as a space for meditation, challenge and experimentation, giving free rein to his obsession for detail.
In general, the artistic discourse of Ernesto Benitez registers a very suggestive and current philosophical and anthropological substrate.
Alberto Lorente starts from chaos without being obsessed with perfect interpretation, free of ideologies: he clones beings in themselves that are incomplete.
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.