The referential sources and the spirit of a work with a meaningful contemporaneity—that of Yamilys Brito (Havana, 1972)—are to be found in the past. Perhaps this vocation by the artist of paying attention to the splendid history of Cuban engraving shaped, in the course of time, the identity of her poetics of full Cuban lore.
With her personal and polished language, Yamilys has contributed to the reanimation of engraving as an expression in the visual arts panorama in Cuba.
In foundational works of her language, the spirit of old engravings bearing witness of life in the Island in colonial times is revealed to us. (…)
If Garneray, Mialhe or Laplante “photographed” Cuban scenes in the 19th century, Yamilys’s look, attentive and loaded with other meanings and intentions in her relationship with reality, translates streets or names of streets in Havana in a speech enunciating cardinal topics in our society and their contemporaneity: a penetrating discourse loaded with associations and meanings, with places and names of our environment as motives or pretexts to transcend and conform a social picture seen from a critical view. (…)
Throughout her prolific career, in more than sixty series, Yamilys Brito certainly does not engrave in the streets, does not engrave in demonstration squares, or on tables without dinners or on the famished bodies of her narrations; she undoubtedly engraves in the intelligence and sensitivity of those who can acknowledge in her an artist with an individual hallmark, one of the most significant exponents of engraving in Cuba.