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Painting is silent poetry, and poetry is painting that speaks. Simonides

Eduardo Miguel Abela Torrás

''My work is essentially a satirical reflection of the Cuban phenomenon. In her attempt to recreate and convey to the viewer a very personal vision of what is happening in my small and not so simple, island context. As issues addressed those problems that most concern the Cuban: the loss of values, corruption, prostitution, economic crisis, migration, family division, dollarization. My main concern is that people can be found in my works, to interact and establish their own reading. Depending on the conceptual and formal requirements as means of expression support me in the drawing, printmaking and painting. I take appointments and appropriations universal aesthetic of art ranging from Byzantine art, to the great movements of the twentieth century, such as Pop Art The use of this resource, let me emphasize that spirit satirical parody I want to accomplish, from of known images and iconography that decontextualized and incorporated to our native environment, where they spend another dimension, that of the absurd and anachronistic.''

Eduardo Miguel Abela Torrás

''... between the sixty and the eighty the pleasant speeches of the appointment, the parody or the silepsis like supreme ways prevailed of transforming into emblem the practice of new-baroque colloquy that still when he enjoys the distance of the relating one, he still prefers not to whisk away it of an everything. In the ninety the sensibility of the pastiche substitutes however, to the thickness of the parody, and the mockery comes to be the last consequence of the perverse sketch: you ends up emulating a relating text that doesn't exist that is invented by the own grimace. It is for it that the appropriation term gives before other subtler, that of intervention, apparently robbed of the boasting of its precedent.


...Eduardo Abela's credit shows the inherited identity, behaved by a painter of third generation that is not disturbed with the vertigo toward its evoked grandfather, a real patriarch in the story of the Cuban artistic vanguard, but that neither it can be released, no matter how much he attempts it or he doesn't care, of the weight of the tradition, in its case, even family.


...The text of Abela is of more anthropological character, in the measure that, I eat its grandfather in the past, he continues buried in the ethnic and cultural speculation -with social and ethical edges - of the social promiscuity of the bicitaxi and the jinetera like guide...


Although Abela rehearses expressions inspectors that seduce from the item of the morphology and its remission incitements (its enormous boxes of Tropical Island juice in engraving wood, remits to the ironic enlargements of Oldenburg, only in an operative one that invests the perversion: Oldenburg went from the matter to its fragility, to its laxity, in what Abela perpetuates the trivial thing unsuccessfully, with its game of ironic disassembly with the illusory ontology of the transcendency), the truly stimulating of its work is the sharpness with which it is able to center dramatic accidents in the current identity of the Cuban thing from a -lustful parody - sardonic dramatization, between the tragedy and the comedy, of the real thing. This way, Rebellious yesterday..., hospital always, it is an excellent pictorial altarpiece that causes of beginning the wild laughter and later the withdrawal, the shock of a brutal nude. All the enunciated indexes that are reduced to a plane of communication promiscuity in that everything fits besides which is worth, appear organically imbricate in a sense logic that clarifies the perception with the humorous shock and it registers, without too much prosecution -which if it was not necessary - the loss of a paradigm that transcends, the misleading of the vainglory like I model when the own reality, the hard reality, speaks in another language. Abela has become a psychologist and sociologist of the Cuban thing, of the expressions of the daily behavior of the Cuban, and its victory is in knowing how to calculate an incisive thought, anything rhetorical, after the carnival of the circumstance. See you only the eloquence of their work on the visit of the Pope to Cuba, a registration extremely observer of those jubilant encounters of the cultural carnival, that of values and the artistic one, in an exquisite melange a trois that cannot repeat, loquacious. ''

(Rufo Caballero. Fragments of the text Credulous yesterday, rebellious always. July, 1998)

Havana, Cuba. June 21, 1963.
Member of the Union of Writers and Artists of Cuba (UNEAC).
Member of the Taller Experimental de Grafica.

Studies Conducted
Provincial School of Plastic Arts "San Alejandro, Cuba.


zoe said...

that parachute-basket is awesome :)

J(a)-(z)z said...

In times of crisis the dual functionality of objects is, without a doubt, a priority :)

Raymonde said...

Does someone know how to contact this artist?

Artodyssey said...

Raymonde, just click the artist name
and you'll get his website adress

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