Since Fidel Castro's rise to power during the 1960s, Cuba has retained an allure in many American minds as a forbidden destination. Havana in particular has garnered a reputation as a city of sinister romance and exotic culture. The Museum of Fine Arts, Boston's (MFA) exhibit, "Violet Isle: A Photographic Portrait of Cuba," boasts true−to−life works by Alex Webb and Rebecca Norris Webb that dramatically trump Hollywood's unrealistic portrayals of Cuban life.
"Violet Isle" is the couple's first collaborative work, and both artists' unique styles blend to form a cohesive exhibit. From 1993 to 2008, the Webbs took 11 trips to Cuba. Alex Webb's work mostly reflects upon the complex relationship between people and nature, while Rebecca Norris Webb presents color−saturated images of animals in daily life. The scope of their works is not limited to Cuba; they have photographed different locations across the globe, including the Amazon, Istanbul and Mexico.
The title of the exhibit draws on Rebecca Norris Webb's interest in poetry: The name "Violet Isle" was inspired by the poem "Violet Island" (2004), written by Cuban poet Reina María Rodriguez. The poem addresses Cuba's deep international isolation, which has penetrated the mentality of the island in all areas of life.
Alex Webb's "Havana" (2002) is an immediately eye−catching image. In the photograph, a man and boy laugh explosively as the man holds the boy upside−down by his legs. Their joy is juxtaposed with the harshness of the background, which is dominated by dark, ominous skies and the decaying columns of an old concrete building.Though the photograph is strong alone, it also seems to capture the contradictory nature of Cuba that has fascinated the Webbs.
Rebecca Norris Webb's "Baracoa" (2008) is a fascinating portrait of two leashed Siamese cats. Green cacti frame the cats, whose long faces bear solemn expressions. In the back right corner of the photograph, a woman's silhouette points at the cats from a window; her figure is just barely visible through collapsed shutters. The image is eerie: The cat's leashes do not appear to lead anywhere, and their grave expressions seem to mark them as messengers of a bad omen.
Conflicts of youth and age are addressed in Alex Webb's "Havana" (2001). The photograph depicts a packed bus whose grime−covered exterior is in desperate need of a fresh coat of red paint. Inside the bus, two women sit looking straight ahead with little girls on their laps. Both women look preoccupied, but one little girl stares straight at the camera with serene, sleepy eyes, unfazed by the chaos of the crowded bus. Behind her stands an old woman with a weathered face, who seems to smirk down at the young girl's youthful hope.
Rebecca Norris Webb's "Havana" (2008) is a close−up profile of a rooster. The image is extremely rich in color, featuring deep oranges, reds and dark browns. This rooster's tailfeathers and neck frame another rooster in the background, which faces the camera. As a result, the photograph looks like a bizarre peep show. The rooster in the background has its wings spread for flight, and its featherless legs are in full view — legs that look strangely and uncomfortably human.
For those hoping to get a glimpse of Cuba behind the Hollywood façade, the "Violet Isle" exhibit is well worth a visit. The Webbs' photographs expertly depicts the contradictions that arise in aspects of everyday Cuban life. Hopefully, the couple will continue to collaborate on projects that integrate both of their unique styles.
