Mónica Batard, artist and curator, presents this collective exhibition featuring seven female artists and seven male artists. Most, with the exception of Ivonne Ferrer and Milena Gutiérrez, have recently arrived in the United States or various European capitals. "Halando Parejo" primarily focuses on the challenges they've faced in integrating into a community that operates under paradigms vastly different from those they've known throughout their lives. It's an exhibition of, one might say, cathartic nature. A significant portion of Cuban art over recent decades addresses political themes. Once an artist leaves the island and their circumstances shift, so too may their interests, and, indeed, the very audience of their art. Their themes and concerns might undergo transformation, often becoming more introspective, revealing a starkly different reality in their work. It's commonplace to notice the thematic focus pivoting towards the artist themselves. We are presented with the rare opportunity to compare—and attempt to reconcile—works produced in disparate, even antagonistic, contexts, observing how the frequently hostile environment influences the poetic essence of one artist versus another and how this is mirrored in their work. Subjective qualities such as intensity, intricate execution, and the projection of their pieces provide a supplementary information package that allows a more comprehensive view of each artist.
For Gabriela Martínez, painting is a therapeutic endeavor. Often, we encounter emotions that elude verbal articulation, especially feelings determined by nebulous sensations. Yet, these emotions flow seamlessly through the boundless spectrum of hues and gestures. Gabriela dreams, allowing her visions to manifest directly onto the canvas; her strokes dream with her, melding into a singular creative entity. From the canvas emanates a palpable aura of opulence and empowerment. The flourish of her brushwork is not one of timidity, but of audacity. Her palette consistently challenges conventions, rejoicing—or mourning—in genuine primary colors.
She regards her abilities as a transcendent power, granting her passage to and from her subjectivity. Through meditation, she immerses herself in color, positioning her mind beyond the distractions of the immediate, beyond the reach of exigencies. Contrary to what may be inferred, this approach seemingly stimulates a critical thought process that recurrently reevaluates her cosmic role, establishing her distinct coordinates within it.