Series-en

Serie: Colouring Book

Emancipation of dissonance

Title: “Emancipation of dissonance” from the series “Colouring book”.
Media: Silkscreen-action.
Materials/Technique: Silkscreen printings on 300gr Canson cardboard, transparent acrylic box, pencils, wax crayons, felt-tip pens.
Dimensions: 4 images of 46cm x 61cm each.
Date: 2016
Edition amount: 3

Title: “Emancipation of dissonance” from the series “Colouring book”.
Media: Silkscreen-action.
Materials/Technique: Silkscreen printings on 300gr Canson cardboard, transparent acrylic box, pencils, wax crayons, felt-tip pens.
Dimensions: 4 images of 46cm x 61cm each.
Date: 2016
Edition amount: 3

Un libro para la familia cubana

Title: “A book for the Cuban family”
Media: Object-action.
Materials/Technique: Silkscreen on 240gr Fabriano cardboard.
Dimensions: 15 images of 34cm x 25cm each.
Date: The date when the spectator interact with images.
Edition amount: 5
This artwork belongs to the series “Colouring book”, through which I try to question the concept of representation in visual arts, and particularly each artwork from this series, refers to ideas about art market, legitimation, power.
To this series I use the colouring book pattern (simple drawing in black lines) to give the audience the possibility to interact with the drawings in a creative and unprejudiced way from the material intervention.
I improve the sensitive from a ludic and spontaneous dimension. In this case on fifteen independent images representing the products sell each moth by the Cuban State in the basic food basket.
For the audience interaction, there are as tools some traditional materials to color (wax crayons, felt-tip pens, pencils, and the like).

Title: “A book for the Cuban family”
Media: Object-action.
Materials/Technique: Silkscreen on 240gr Fabriano cardboard.
Dimensions: 15 images of 34cm x 25cm each.
Date: The date when the spectator interact with images.
Edition amount: 5
This artwork belongs to the series “Colouring book”, through which I try to question the concept of representation in visual arts, and particularly each artwork from this series, refers to ideas about art market, legitimation, power. To this series I use the colouring book pattern (simple drawing in black lines) to give the audience the possibility to interact with the drawings in a creative and unprejudiced way from the material intervention. I improve the sensitive from a ludic and spontaneous dimension. In this case on fifteen independent images representing the products sell each moth by the Cuban State in the basic food basket. For the audience interaction, there are as tools some traditional materials to color (wax crayons, felt-tip pens, pencils, and the like).

Serie: From consumption to communication and viceversa

Object used to coerce during…

Title: “Object used to coerce during…” from the series “From consumption to communication and viceversa”
Media: Object.
Materials/Technique: Bronze, lead, red velvet, wood, transparent acrylic.
Dimensions: Variables.
Date: 2013
Edition amount: 3
This work emerge from my concerns regarding power relations, above all, the ones that directly impact in the individual in a physical-psychological way. The text in the front part of the knuckle-dusters is a variation of an original phrase belonging to Confucius; I have only modified the word order to change its meaning as a slogan, as a power statement. I play with the idea of possible existence of the object in past times. I also try to bring up the fantasy of imagine the texts marks on skin.
Title: “Object used to coerce during…” from the series “From consumption to communication and viceversa”
Media: Object.
Materials/Technique: Bronze, lead, red velvet, wood, transparent acrylic.
Dimensions: Variables.
Date: 2013 Edition amount: 3
This work emerge from my concerns regarding power relations, above all, the ones that directly impact in the individual in a physical-psychological way. The text in the front part of the knuckle-dusters is a variation of an original phrase belonging to Confucius; I have only modified the word order to change its meaning as a slogan, as a power statement. I play with the idea of possible existence of the object in past times. I also try to bring up the fantasy of imagine the texts marks on skin.

Reconstitution

Title: “Reconstitution” from the series “From consumption to communication and viceversa”
Media: Object
Materials/Technique: Paper, ink, transparent acrylic, stainless steel, zinc.
Dimensions: Variables.
Date: 2012.
Edition amount:
“Re-constitution” is a piece made as a book, by using the pages of the current Constitution of the Republic of Cuba. These pages have been totally rewritten using a pen, over the same printed text. Despite the result is an object, the process of making it, have been assumed as a performance in relation with the body, the energy and the time: once I started to rewrite the text, I did not interrupt the work, until I finished the last page. In this way, I am interested to think about the relation between the individual and the law, determined by the interaction frame or limit imposed in the Cuban context, by a document that dating from 1976.
Title: “Reconstitution” from the series “From consumption to communication and viceversa”
Media: Object
Materials/Technique: Paper, ink, transparent acrylic, stainless steel, zinc.
Dimensions: Variables.
Date: 2012.
Edition amount:
“Re-constitution” is a piece made as a book, by using the pages of the current Constitution of the Republic of Cuba. These pages have been totally rewritten using a pen, over the same printed text. Despite the result is an object, the process of making it, have been assumed as a performance in relation with the body, the energy and the time: once I started to rewrite the text, I did not interrupt the work, until I finished the last page. In this way, I am interested to think about the relation between the individual and the law, determined by the interaction frame or limit imposed in the Cuban context, by a document that dating from 1976.

Untitled

Title: Untitled from the series “From consumption to communication and viceversa”
Media: Object-action
Materials/Technique: Plata 925, red velvet, wood, metal.
Dimensions: Variables
Date: 2008
Edition amount:
In the series “From consumption to communication and viceversa” I make a blend between language and consumption objects. Some of the objects have been designed to be show in a gallery, but others only to work within society, being the result of the latter in the gallery, a photographic documentation. This piece is made up of a number of silver earrings which as a whole, made up a phrase referring to the art´s market dynamics. After the earrings were displayed for some time, the audience could take them for free conforming in this way, a new individual idea, as these people had the possibility of choosing the earrings they preferred. It is important to me, the material which they were made up of, related with the phrase meaning and with the consumption for free. This piece was ephemera, although earrings plus documentary photography of each edition presented can be remade.
Title: Untitled from the series “From consumption to communication and viceversa”
Media: Object-action
Materials/Technique: Plata 925, red velvet, wood, metal.
Dimensions: Variables
Date: 2008
Edition amount:
In the series “From consumption to communication and viceversa” I make a blend between language and consumption objects. Some of the objects have been designed to be show in a gallery, but others only to work within society, being the result of the latter in the gallery, a photographic documentation. This piece is made up of a number of silver earrings which as a whole, made up a phrase referring to the art´s market dynamics. After the earrings were displayed for some time, the audience could take them for free conforming in this way, a new individual idea, as these people had the possibility of choosing the earrings they preferred. It is important to me, the material which they were made up of, related with the phrase meaning and with the consumption for free. This piece was ephemera, although earrings plus documentary photography of each edition presented can be remade.

Untitled

Title: Untitled from the series “From consumption to communication and viceversa”
Media:
Object-action
Materials/Technique: Aluminum engraved, stainless steel.
Dimensions: Variables
Date: 2008
Edition amount:
In the series “From consumption to communication and viceversa” I make a blend between language and consumption objects. Some of the objects have been designed to be show in a gallery, but others only to work within society, being the result of the latter in the gallery, a photographic documentation. This artwork consisted of handed out, in different parts Havana City, thirty metal tags (similar to those used to identify soldiers during war). The tags contained abstract signs engraved (each character corresponding to a letter in the alphabet) and making up a text or idea. The tags were distributed in exchange for a picture of the person wearing the tag and a contact detail of that person (postal address, email address, etc.) A month after the tags were given out, a code was sent to all the people participating, so they could decipher the message stated in the tags they had been carrying, message which was in all cases related to economic, political or social postures. Once the people known the message, they could decide if they wanted to keep using the tag. This piece uses a fashion attribute and the kind of consumption it generates, to speak about the manipulation.
Title: Untitled from the series “From consumption to communication and viceversa”
Media:
Object-action
Materials/Technique: Aluminum engraved, stainless steel.
Dimensions: Variables
Date: 2008
Edition amount:
In the series “From consumption to communication and viceversa” I make a blend between language and consumption objects. Some of the objects have been designed to be show in a gallery, but others only to work within society, being the result of the latter in the gallery, a photographic documentation. This artwork consisted of handed out, in different parts Havana City, thirty metal tags (similar to those used to identify soldiers during war). The tags contained abstract signs engraved (each character corresponding to a letter in the alphabet) and making up a text or idea. The tags were distributed in exchange for a picture of the person wearing the tag and a contact detail of that person (postal address, email address, etc.) A month after the tags were given out, a code was sent to all the people participating, so they could decipher the message stated in the tags they had been carrying, message which was in all cases related to economic, political or social postures. Once the people known the message, they could decide if they wanted to keep using the tag. This piece uses a fashion attribute and the kind of consumption it generates, to speak about the manipulation.

A key that can open any door is a good one, but a door that can be opened with any key is a bad one

Title: “A key that can open any door is a good one, but a door that can be opened with any key is a bad one” from the series “From consumption to communication and viceversa”
Media:
Object
Materials/Technique: Bronze, stainless steel.
Dimensions: Variables
Date: 2011
Edition amount: –
In the series “From consumption to communication and viceversa” I make a blend between language and consumption objects. Some of the objects have been designed to be show in a gallery, but others only to work within society, being the result of the latter in the gallery, a photographic documentation. This piece talks about happiness, but, not trying to elucidate what happiness is or what is its essence, but to present the human desire of reaching it. It consists of twenty one exact bronze keys. Just in one of them the audience can read the word HAPPINESS, which has been cut in the metal.
Title: “A key that can open any door is a good one, but a door that can be opened with any key is a bad one” from the series “From consumption to communication and viceversa” Media: Object Materials/Technique: Bronze, stainless steel. Dimensions: Variables Date: 2011 Edition amount: – In the series “From consumption to communication and viceversa” I make a blend between language and consumption objects. Some of the objects have been designed to be show in a gallery, but others only to work within society, being the result of the latter in the gallery, a photographic documentation. This piece talks about happiness, but, not trying to elucidate what happiness is or what is its essence, but to present the human desire of reaching it. It consists of twenty one exact bronze keys. Just in one of them the audience can read the word HAPPINESS, which has been cut in the metal.

Serie: Marks on the body

Amnesia

Title: “Amnesia” from the series “Marks on the body”
Media: Photography.
Materials/Technique: Digital print on 300gr Epson cotton paper.
Dimensions: 5 images of 40cm x 61cm each.
Date: 2011
Edition amount: 5
The intention of “Marks on the body” is to question the paradigm of the concept of beauty. “Amnesia” consists of five photographs of brands made by me on animal skin with red-hot iron. The dates represent key moments of human development, from a technological and social point of view. Through this artwork I make a reflection about the construction of cultural models, from acquired knowledge, that is, what we know, and how we know it, in relation with the concept of evolution.

Title: “Landscapes: Butterflies, mountains, river, earth” from the series “Marks on the body”

Media: Photography.

Materials/Technique: Digital print on 300gr Epson paper.

Dimensions: 4 images of 40cm x 50cm each.

Date: 2007

Edition amount: 5

Statement:
The intention of “Marks on the body” is to question the paradigm of the concept of beauty. In the piece “Landscapes: Butterflies, mountains, river, earth” I caused the marks on the body, by making an impression of some inestimable objects. The aestheticized body mark loses its social stigma, becoming a contemplative image. The pressure applied on the skin creates a poetic image that is evoked by the title each picture has.

Landscapes: Butterflies, mountains, river, earth

Title: “Landscapes: Butterflies, mountains, river, earth” from the series “Marks on the body”
Media: Photography.
Materials/Technique: Digital print on 300gr Epson paper.
Dimensions: 4 images of 40cm x 50cm each.
Date: 2007
Edition amount: 5
The intention of “Marks on the body” is to question the paradigm of the concept of beauty. In the piece “Landscapes: Butterflies, mountains, river, earth” I caused the marks on the body, by making an impression of some inestimable objects. The aestheticized body mark loses its social stigma, becoming a contemplative image. The pressure applied on the skin creates a poetic image that is evoked by the title each picture has.

Title: “Landscapes: Butterflies, mountains, river, earth” from the series “Marks on the body”

Media: Photography.

Materials/Technique: Digital print on 300gr Epson paper.

Dimensions: 4 images of 40cm x 50cm each.

Date: 2007

Edition amount: 5
The intention of “Marks on the body” is to question the paradigm of the concept of beauty. In the piece “Landscapes: Butterflies, mountains, river, earth” I caused the marks on the body, by making an impression of some inestimable objects. The aestheticized body mark loses its social stigma, becoming a contemplative image. The pressure applied on the skin creates a poetic image that is evoked by the title each picture has.

Serie: Manifest on carelessness

First note

Title: “First note” from the series “Manifest on carelessness”
Media: Installation.
Materials/Technique: Printings on transparent self-adhesive vinyl, wooden rocking chair, book.
Dimensions: Variables.
Date: 2016.
The work piece was conceived from three intertwined dimensions, clung to a subjective historical interpretation: the thought (fostered by the book and its author), its concretion (armed action, depicted by specific images of bullet holes found at the Moncada Garrison, as a result of the armed struggle during the 50’s), and lastly, the contemplation (the simulated mark, the rest state that can be generated by the rocking chair, the book as a support of an extinct thought).
I am interested in thinking about the role of the subject as passive and unconscious in the political thinking and doing, in a present reality that might seem to lack some ductility, and recipient of pose and reproduction, in contrast with other moments of the past, of transformation of the Cuban society.

Title: “First note” from the series “Manifest on carelessness”
Media: Installation.
Materials/Technique: Printings on transparent self-adhesive vinyl, wooden rocking chair, book.
Dimensions: Variables.
Date: 2016.
The work piece was conceived from three intertwined dimensions, clung to a subjective historical interpretation: the thought (fostered by the book and its author), its concretion (armed action, depicted by specific images of bullet holes found at the Moncada Garrison, as a result of the armed struggle during the 50’s), and lastly, the contemplation (the simulated mark, the rest state that can be generated by the rocking chair, the book as a support of an extinct thought).
I am interested in thinking about the role of the subject as passive and unconscious in the political thinking and doing, in a present reality that might seem to lack some ductility, and recipient of pose and reproduction, in contrast with other moments of the past, of transformation of the Cuban society.