An approach to Saidel Brito’s work

/ 1 September, 2018

Saidel Brito Lorenzo was born in the city of Matanzas, Cuba, in 1973 and currently resides in the city of Guayaquil, Ecuador. I have had the pleasure of speaking to him and recalling the pleasant days as a student in the Higher Institute of Art (ISA), first as a student and later as a friend and renovating artist. We were able to catch up and I have gotten to know of his projects, the artistic work displayed (…).

Speaking of this meeting and of the conversation with the artist, I have rethought about the Cuban art of between the 1980s and the 1990s, since during that stage Saidel’s symbolic production was developed.

The artists who were formed in the last five years of the 1980s irrupted into the 1990s formulating new variants of the artistic discourse and for this they had at their disposal both painting and engraving in all their variants, photography, graphic humor, drawing and sculpture (…).

And precisely in that sense, Saidel Brito is an artist that resorts to all possible registries to assume diverse positions and multiple appropriations which favor the development of a wide visual repertoire (…) that identifies and defines him as an indispensable creator in the artistic scenario, beyond his place of birth.

(…) It was in the ISA exhibit, as part of the 5th Havana Biennial, when his work Emigración Voisin highlighted his work with an original and distinctive poetics, full of messages that called on the imagination of the spectator, inciting that sort of gaze that was trying to find the ambiguous and hidden meaning among the dispersed heads of sheep fleeing terrified into the water, made with a technique that increasingly contributed to encouraging imagination.

Brito resorts to drawing, sculpture, performance, painting, photography, according to his theoretical foundations full of multiple referents which he wisely mixes and, in the same way, he subtly selects his titles (…).

The theme of historic painting predominates in his proposals, which he assumes as shadows that have emerged from his own initial aims, without the attributes of the true fact (…). But undoubtedly the theme of the animals, of their ways, of their figurations create an imagery that alludes to man, to his behavior, to his values and his prejudices (…).

He also creates rural, urban and human landscapes, but all of them placed in a space of life and of assimilation of the tradition of art and of the cultural significance. (…) Saidel creates in his discourses an attractive, original, very personal visualization full of humanity, which denotes his worth, his career and his intense creative work. (…)

Pilar Fernández Prieto

Graduate in Art History. Professor at the Faculty of Arts and Letters in Havana University and the Higher Institute of Arts. Between 1995 and 1998 she was the director of the National Museum of Fine Arts. She has published several texts on Cuban architecture, particularly on Art Deco.

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