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 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 in 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.