Selected Solo Shows
Vanities
Media: Installation-action.
Materials/Technique: 90 pieces of clothing, furniture, catalogue of the collection.
Dimensions: Variables.
Date: 2018.
Vanities was articulated around the design of thirty pieces of clothing, created by synthesizing the images of certificates, diplomas, and moral awards given to my grandmother by several political and mass organizations in Cuba from the ’60s to the ’90s. The appropriation of certain decorative elements from the certificates, to create utilitarian articles, establishes a comment on the changes occurring in contemporary Cuban society; in which, the value of sacrifice, unconditional effort, and moral recognition, has been replaced by the vindication of individuality, the logic of survival, and the consumption needed.
The project had the explicit purpose of selling the pieces of clothing separately, democratizing its consumption. The exhibition space functioned as a sort of boutique, with display hangers, appropriate shelves, and modular furniture reinterpreting the aesthetics of the ’60s. The clothing was made in three different sizes for each design (S, M, L), totaling 90 pieces.
Besides this installation set, the show included a collection catalog, containing the sketches I made for the clothing designs, as well as the images of the original certificates conferred to my grandmother.
Media: Installation-action.
Materials/Technique: 90 pieces of clothing, furniture, catalogue of the collection.
Dimensions: Variables.
Date: 2018.
Vanidades was articulated around the design of 30 pieces of clothing, created by synthesizing the images of certificates, diplomas, and moral awards given to my grandmother by several political and mass organizations in Cuba from the ’60s to the ’90s. The appropriation of certain decorative elements from the certificates, to create utilitarian articles, establishes a comment on the changes occurring in contemporary Cuban society; in which, the value of sacrifice, unconditional effort, and moral recognition, has been replaced by the vindication of individuality, the logic of survival, and the consumption needed.
The project had the explicit purpose of selling the pieces of clothing separately, democratizing its consumption. The exhibition space functioned as a sort of boutique, with display hangers, appropriate shelves, and modular furniture reinterpreting the aesthetics of the ’60s. The clothing was made in three different sizes for each design (S, M, L), totaling 90 pieces.
Besides this installation set, the show included a collection catalog, containing the sketches I made for the clothing designs, as well as the images of the original certificates conferred to my grandmother.
Curated projects
Raíces en tránsito: 30 Artists of the Cuban Diaspora
Format: Multidisciplinary group exhibition
Mediums and Practices: Graphic novels, painting, sculpture, installation, social practice, site-specific murals, and interactive virtual reality (VR).
Dimensions: Variable
Date: 2026
Raíces en tránsito: 30 Artists of the Cuban Diaspora brought together thirty artists who participated in ARC – Artists at Risk Connection’s Cuban Migrant Artists Resilience Fellowship during its first three years. Presented at Galería Nueva Carabanchel in Madrid, the exhibition explored resilience not as passive endurance, but as a process of transformation, reinvention, and the creation of new possibilities for artistic and collective life. The curatorial framework approached resilience through three interconnected thematic axes: systems of control and forms of resistance; migration, exile, and displacement; and memory, identity, and reconstruction. Together, these themes examined how artists navigate political constraints, negotiate the experience of displacement, and reconfigure personal and collective histories across borders. Rather than presenting the Cuban diaspora through a singular narrative of loss or exile, the exhibition brought diverse artistic practices and experiences into dialogue. Across visual art, film, literature, music, installation, performance, and digital media, the works explored how cultural memory, creative expression, and relationships with others can become resources for reimagining identity and belonging.
Format: Multidisciplinary group exhibition
Mediums and Practices: Graphic novels, painting, sculpture, installation, social practice, site-specific murals, and interactive virtual reality (VR).
Dimensions: Variable
Date: 2026
Raíces en tránsito: 30 Artists of the Cuban Diaspora brought together thirty artists who participated in ARC – Artists at Risk Connection’s Cuban Migrant Artists Resilience Fellowship during its first three years. Presented at Galería Nueva Carabanchel in Madrid, the exhibition explored resilience not as passive endurance, but as a process of transformation, reinvention, and the creation of new possibilities for artistic and collective life. The curatorial framework approached resilience through three interconnected thematic axes: systems of control and forms of resistance; migration, exile, and displacement; and memory, identity, and reconstruction. Together, these themes examined how artists navigate political constraints, negotiate the experience of displacement, and reconfigure personal and collective histories across borders. Rather than presenting the Cuban diaspora through a singular narrative of loss or exile, the exhibition brought diverse artistic practices and experiences into dialogue. Across visual art, film, literature, music, installation, performance, and digital media, the works explored how cultural memory, creative expression, and relationships with others can become resources for reimagining identity and belonging.