Issues of American popular culture and Cuban identity have been found in my work since 1985. The earlier work concentrated on a mix of abstract and representational iconography that incorporated images from my past and present. The Autobiography Series (1985-87), the Black Lace Series (1987-89) and the Binary forms Series (1988-92) are examples of works from this period. The work tried to create an avenue for which to reexamine issues that affected the way I perceive the environment around me. While the images made specific references to past memories, Cuban iconography, art history and contemporary art theory, it was clear to me that some of the imagery might not be accessible to the public. I hoped, however, that I could create a connection with the audience through the specific stylistic approaches and a juxtaposition of the diverse imagery that addressed universal themes relating to identity and alienation.
In 1992, I became more interested in creating paintings that made clear realistic references to Cuban culture, religion, food, politics and it’s relevance in an American society. The Madonnas of Western New York Series (1991-93), the Madonnas in Time Series (1993-95), Icons Series (1993-95), Las Balsas and Balsas Artifacts Series (1995-99), Appropriated Memories Series (1996-97) and the Cuban Portraits (1997-99) are examples of work from this period.
In 1997, I began thinking about the next phase of my artistic career. I was interested in creating work that explored contemporary society, art and culture from a different perspective than I had explored in the past. The Studio Retablos Series (1997-99) was a transitional body of work that connected the older body of work to the more recent Trout Encountered Series and Biological Regionalism Series. The Studio Retablos Series incorporated many unrelated experiences that had deeply influenced my work but were not specifically related to any of the previous series. The series appropriated found paintings with realistic imagery from my past.
The Trout Encountered Series (2000-2004) and Biological Regionalism Series (2005- present) started soon after Studio Retablos Series. The series of paintings and videos reexamined the validity of regionalism in contemporary art and the utilization of angling art, art history, environmentalism and biology as a vehicle to examine contemporary society. The work tries to sensitize the audience to elements of their own environment that have been overlooked but that yet characterize their region. The Aesthetic of Death Series (2007- Present) uses nature and painting as a metaphor for the human life and death. After experiencing the death of several family members and family illnesses, I began the series as a way to deal with the fragility and the richness of life.
During the exhibition of the Biological Regionalism: Scajaquada Creek, Erie County, New York, USA at the Burchfield Penney Art Center in Buffalo, NY in 2014, I was asked to consider doing a similar project in Kathmandu, Nepal. The next two years were spent working on the Bagmati River Art Project as Jason Dilworth, a colleague at SUNY Fredonia, and I took two trips to Kathmandu to finish the multi-faceted project.
In 2015, the Extinct Birds Project began after seeing a drawer full of extinct birds at the Roger Tory Peterson Institute in Jamestown, New York. 2016 to 2018 were spent answering the following questions: How did the specimens get here? Should they have been collected if they later went extinct? Where were these birds collected? What were their lives like? Who collected them and how? What were the collectors thinking when they collected them? Have the bodies been gutted and filled with cotton? How do they do that? The research and subsequent results are found at the project’s website at www.extinctbirdsproject.com.
In 2019, the Lost Beauty Project started as a collaboration between the University of Buffalo’s Anderson Gallery and the Buffalo Museum of Science. Lost Beauty: Part I exhibition took place at the Anderson Gallery in the summer of 2019 and Lost Beauty: Part II took place in the summer of 2020. Part I concentrated on the paintings and videos from the Extinct Birds Project with specimens from the Buffalo Museum of Science. Part II concentrated on paintings depicting small but significant artifacts from the Buffalo Museum of Sciences collection.