Interview with Osiris Cisneros

/ 1 December, 2014

About Hidden pleasures

La pared negra of Cuban Art Factory, designed as a space for emerging photographers, alien to the channels established by the institution, since its opening last February, has exhibited the work of “singular” creators.

One of its first guest artists was the irreverent Osiris with his exhibition Lipstick. Just six months after this first photo exhibition, Cisneros is displaying at Alberto Linero’s Gallery of the City of Miami, the sample: Hidden pleasures.

What is the relationship between this new exhibition and Lipstick?

The works I am now exhibiting resulted from a study conducted in 2011, without them, Lipstick would not have existed, probably in its place there would have been something with the title, “Instantáneas de mi ciudad” or something like that.

It consists in 8 photos digitally printed on canvas, in 50 x 75 and 40 x 60 formats. Although most of the photos belong to the series Any Body (2011), I also decided to include “100% poliéster” from Lipstick (2013-2014); and one from Maid (2014), my last series.

Why the leitmotiv of female character?

The female character, as you say, is something recurrent in my work. Why? … I could tell you I do not know…. I’m almost convinced it’s some kind of obsession. When I start taking my first photographs, I felt my framings were missing something.

It is a tool or method to draw the viewer’s attention. I think they all have a special charm, and personally I find compelling any image in which they are present. Their presence is a visual success whatever the case; either praising them or taking them to a minimum, as sometimes I usually do in my work.

Do you always decide on large formats?

I use them whenever the work permits it. I love the idea of putting my characters almost at your height, that them to be able to tell things in your face. If by chance you are one of those morbid who walk through life (like me) you can see everything. And we will not go into details [laughs].

I’m not defining my work as morbid, as morbidity has many sides and each person defines it on his own way. I just think that nudity even today remains a prolific subject, especially female nudity.

In my experience I think a woman expresses more when naked than when dressed. Clothing is a disguise, nudity is reality. So my large formats, for that reality to hit … so to speak.

Does Hidden pleasures go from black and white?

White and black … what do I know, that would have be asked to the one who invented this photography. I can just tell you that the result -when achieved- is simply beautiful.

Although on second thought I believe that despite the wide range between one and the other, real life is another thing. Real life is here and now, you stay or leave, you are or you are not. And my photos are just that, reality, (my reality).

I have worked the colors, which I really like as shown in Lipstic k, but I sense that the black and white often gives me that feeling of perfection … I love it.

What can follow this exhibition?

After «Hidden Pleasures» a lot can happen, at least I hope so [laughs]. First of all, I want to continue producing and finish my last series “Maids” which was an unfinished project I brought from Cuba. And on December, within the framework of Art Basel Miami, I want to make another display at Alberto Linero’s Gallery.

 

Gabriela García Azcuy

Gabriela García Azcuy

La Habana, 1989. Graduated from the Faculty of Arts and Letters in Havana University, she is continuing her studies at the University of Florida. She is curator and cultural manager of the art organization The Cuban Arts Group. Among her current projects are Cuban Ingenuity. The Artistry of the Everyday Inventor at the Cade Museum and the documentary with the same name. She is co-founder of the Next Generation Project, a foundation for the promotion and management of the Cuban arts. She has collaborated with various publications, such as Art OnCuba, Artecubano, Arte x Excelencias, Arbus Magazine, et al.

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