About

I have developed a process of painting that uses colored light to divide one image into three images. Red light is scene one, green light is scene two, blue light is scene three. The sequencing of RGB light produces the effect of a moving picture, creating the ability for the two-dimensional medium of oil painting to expand into the fourth dimension, time. The work is first a physical process and phenomenon that is situated in the realm of physics and color theory. However, when applied in the realm of the fine arts it culminates in a discussion of the cinematic. The figures become the characters, “Space” becomes the scene and the still image becomes a motion picture. 

In  terms of content, I don’t believe I am anything more than a storyteller narrating on the human condition. Though I may have greater personal ties to some stories, I like to remain impartial and always endeavor to the portray the larger picture. I have always been attracted to the carnivalesque; my early work was the struggle between the narrative of fear, sex, gore and the dilemma of illusion. The question then was how to transform the canvas into a palpable sensory experience beyond the three-dimensional plane without falling into the trappings of spectacle; my study was supplemented by the concept of cinema. 

I am Cuban American, native to Miami and currently residing in New York. I come from a privileged family of refugees who sought out political asylum, freedom and basic human rights in America. “Privileged” because I come from a culture that instills and practices a Stoic perspective; instead of harping on how we lost everything (as the story goes) or how my grandfather was a political prisoner for twenty years, we left a naive island and embraced a peninsula that hangs off of North America. This place was Miami and we morphed it into what it is today. 

Miami, aka “North Havana”, has a light of its own trailed by the color that falls from it. Somewhere in that wake, a Cuban boy is swimming and is mesmerized by a creature’s changing skin colors. He is silenced by its transforming shape and texture that is juxtaposed sharply against the environment of the tropics; from rock, to sand, to a spectrum divided by every and any possible variation of altering hues. Since the sighting of this creature, this octopus, I’ve continued to seek out the privilege of morphing images into the shapes of colored environments.