RIGHT: Untitled (Cuaba ve, adivina), Virginia Flue Cured tobacco on handmade paper dyed with cochineal, osage, and logwood, pulp silkscreen, snake skin. 54 X 41 inches
LEFT: Untitled (Cuaba ve, adivina), Virginia Flue Cured tobacco on handmade paper dyed with cochineal, osage, and logwood, pulp silkscreen, snake skin. 54 X 41 inches
RIGHT: LAÍNTO, Virginia Flue Cured tobacco on beeswax dyed with graphite, abacá, sealing wax on straw-seat, seashell, feather. 18 X 15 X 3 inches
DETAIL: Untitled (Cuaba ve, adivina), 2025
LEFT: LAÍNTO, Virginia Flue Cured tobacco on beeswax dyed with graphite, abacá, sealing wax on straw-seat, seashell, feather. 18 x 15 x 3 inches
CENTER: CAISIMÓN, Cuban tobacco stems, sealing wax on straw, abacá, coyote taxidermy. 43 x 20 x 3 inches
RIGHT: El Monte (pa’ Lydia, con centella), Cuban tobacco casted on handmade paper. 24 x 20 inches
LEFT: El Monte (pa’ Lydia, con centella), Cuban tobacco casted on handmade paper. 24 x 20 inches
DETAIL: El Monte (pa’ Lydia, con centella), 2025
LEFT: LAÍNTO, Virginia Flue Cured tobacco on beeswax dyed with graphite, abacá, sealing wax on straw-seat, seashell, feather. 18 x 15 x 3 inches
CENTER: CAISIMÓN, Cuban tobacco stems, sealing wax on straw, abacá, coyote taxidermy. 43 x 20 x 3 inches
RIGHT: El Monte (pa’ Lydia, con centella), Cuban tobacco casted on handmade paper. 24 x 20 inches
LAÍNTO
Virginia Flue Cured tobacco on beeswax dyed with graphite, abacá, sealing wax on straw-seat, seashell, feather. 18 x 15 x 3 inches
“Voloshyn’s booth has been conceived as a dialogue between artists of different generations who have reinvigorated the tradition of the found object assemblage by using it to explore ways of knowing that sit at the edges of Western thinking and that often spill beyond them. Ricardo Brey (Havana, 1955) borrows ideas and practices associated with alchemy in order to structure a system, halfway between science and magic, that allows him to delve into spirit worlds, post-life materialisms, transrational phenomena, vision-like intensities, and processes of transubstantiation. Harold Mendez (Chicago, 1977), a first-generation American of Colombian and Mexican descent, explores the long arc of hemispheric histories in the Americas, from the cosmogonies of the continent’s original inhabitants to the variegated diasporic knowledge that came with the migrations of people from Europe, Africa, and elsewhere. His often delicate works transact with absence, loss and the ways in which selves and histories are disarticulated and rearticulated from below. In both his elaborate handmade papers and his assemblages, Jonathan Sanchez Noa’s (Havana, 1994) examines how histories of colonial extraction are haunted by the capacity of lost or smothered understandings of the world to reassert themselves. He utilizes Cuban tobacco, in particular, as a medium to reconstruct narratives of displacement in relation to cultural and religious significance.” - Gean Moreno.