"Surrounded by Water: Expressions of Freedom and Isolation in Contemporary Cuban Art," now open at the Boston University Art Gallery and curated by graduate student Natania Remba, explores the ways in which Cuban artists use water as a metaphor.
The show features works that explore politics, society and culture through each artist's personal relationship with water. The wall text seems to favor negative interpretations of the country's situation, but there are some works that feature a positive outlook. The show is organized thematically with the pieces grouped by social or political issues, themes that are not always evident in the works themselves. The show does provide access to a group of artists not readily available to American audiences and brings together very diverse works.
Two of the first pieces in the show are acrylic paintings by Tomás Sánchez. Often compared to artists of the Hudson River School, Sánchez paints realistic landscapes. The two featured here, "Orilla" (2001) and "Over Biscane Bay" (2006), both seem to have a message of hope. While nothing about these paintings is explicit ("Over Biscane Bay" shows nothing but water and clouds and "Orilla" depicts a tropical forest), the way the landscapes are painted shows water in a positive light. The forest is idealized, and there is a faint light emanating from deep within the trees. Sánchez is celebrating the fact that his homeland is surrounded by water.
More often, these works deal with the political implications of Cuba being an island. "La edad de oro," (2000) which translates to "The Golden Age," is a video triptych addressing the familiar story of Elián González. Three artists, José Ángel Toirac, Meira Marrero Díaz and Patricia Clark, collaborated on this piece that shows television footage of the event from Cuban and American stations, interspersed with a popular Cuban children's song. The piece highlights the broad cultural differences and tension that exists between two countries that are geographically very close.
"Swimmer" (2004) by Luis Cruz Azaceta also confronts the issue of immigration. This large mixed-media canvas is dominated by violent swirls of dark colors with a bright orange streak crossing the middle of the work. This piece represents the dangerous path taken by those who attempt to leave the island for the United States illegally. Though "Swimmer" and "La edad de oro" both deal directly with immigration, they are placed at opposite sides of the gallery, allowing for viewing variety.
A photo by Manuel Piña, "Sin titulo" from the series "Aguas Baldias" (1995), has a more emotional approach to dealing with water. The photo is set at the Malecón, the sea wall that runs along the Northern border of Havana. Wall text explains the cultural significance of the Malecón. A popular place for recreation for all Cubans, the wall is also a physical manifestation of their separation from the rest of the world.
Piña's photo shows a swimmer artfully caught jumping from the wall into the sea. His body stretches out towards the horizon, but one foot still remains attached to the wall. The photo is a poignant image of what Remba states is the conflicted attitude of Cubans toward the sea, and this one piece alone connotes both feelings of freedom and isolation.
These are only a few of the works and themes addressed in "Surrounded by Water." Remba has succeeded in displaying a great variety of pieces, each with a different message. The use of water as a metaphor is present in all the works, and means something different to each artist. This is a great opportunity to gain some exposure to artists that may not be readily available through more well-known venues.
Surrounded by Water: Expressions of Freedom and Isolation in Contemporary Cuban Art
At the Stone Gallery through SundayBoston University Art Gallery855 Commonwealth Avenue617-353-4672
