Under the title Fuera de juego, Maykel Herrera returns to exhibit his works; this time in a playful and funny way, collaterally to the 12th Havana Biennial as he declared to ArtOnCuba.
This is an art exhibition that has fifteen pieces of various formats in mixed technique on canvas. It will be appreciated until late next month at Leonor Perez Cabrera Maternity Home, located in Lamparilla # 12, between Oficios and Mercaderes Streets, in Old Havana.
On them we appreciate a formal and conceptual rupture in the discourse of the creator, who had us so accustomed to his peculiar infants: his dwarf princes. In these new works there are not children but his mark beats in the compositions. The portraits are just toys, both for boys and girls.
This pictorial series represents a group of toys in different colors and postures. Irony, avoidance, disengagement, satire, recollection and joke are the conceptual resources that reaffirm this unusual projection. It is basically to subtract the viewer from the harmful social game to take him into another universe, harmless, but no less suspicious and suggestive.
We talked with the creator about this new delivery:
How do this new series emerge?
This series maintains, as figurative axis, a group of toys in compositions, colors and poses, which invite us to enter into a somewhat naive and harmless world that all, or many of us, carries colored in memory. Unlike previous series as ”La verdad parece un cuento’’ (Truth seems a story), this set of pieces relies more on contemplation than on intellect; generating discursive issues are not the current essence of my concern when I assume this new iconography.
What was what motivated you the most to show these toys in your work?
These are times of great social turmoil and theoretical upheaval, so I’ve conceived the time and space to exit the game with this series that assumes a different dialogue. The attention focuses on the attitude I take to solve my problem or need to communicate with the cold, seemingly empty and indolent, image of toys, which incite us to play, remember, enjoy, rest and enjoy nostalgia where childhood can not be seen, but felt. The strong and spiritual presence of our children screams by itself, opting for a reconciliation with the fate of an entire generation, victim and guilty of many events.
What are the main themes you try to convey in these paintings?
Irony, avoidance, disengagement, satire, recollection and joke are essentially the conceptual resources that reaffirm this analysis. It is basically to subtract the viewer from the harmful social game to take him into a more transparent universe and creating a duality at the same time, because these toys jump out of their context to enter, so boldly, a speech which will be the gallery. They also leave their original sense to penetrate our pollution, dense and sometimes unhealthy. In an exhibition hall, both toys like us have abandoned the game for which we were created, in order to blend in and achieve a concoction of memories, blissful smiles and reflections. It will be a break for the soul that will only last the perception time of these works.