Since the mid 90s my art examines issues related to Cuban national identity, treasuring its fragments and tokens as a sort of palimpsests on which cubanes is re-inscribed over and over. In those Baroque compositions different iconographies (realistic representations of tropical fruits, drawings of Afro-Cuban religious symbols and tile designs) were juxtaposed and collaged onto abstract expressionist backgrounds, as transversally mapping the Cuban soul from a diasporic perspective and yielding a thread of diverse visual and semantic levels. My recent work, integrates photography based images (often downloaded from the Internet) into quite painterly compositions; this approach somehow extends my scope to a moreuniversal quest on artistic languages themselves and the way they are being influenced by the increasing presence of digital images and technology in our world. The original photographic images are melted and 'translated' into the realm of Fine Arts through traditional painting supports and techniques in an “alchemical” process tending to estrange both classical and technological elements while aiming to lead to a totally new one.
I think there are some really good realist painters but they don't get any recognition from the press. And yet they'll write these long articles in the New Yorker and the Times about really dreadful stuff and they don't pay any attention to Realism. It's sort of an ideology that's taken over the press. It's like the old Communists. They just don't talk about anything they don't agree with.