As a young child in Cuba, I made a drawing of a car from our family’s second-floor balcony in central Havana. I showed the drawing to my father and uncle. My uncle proceeded to show me how a car ought to be drawn. It was then and there that I realized that his symbolic interpretation of a car, a simplification of forms, was not what a car looks like. That is not how I saw it. I told myself to never make a drawing from general information. I returned to the balcony and sat down with the most earnest intention to draw what I saw.
That experience has informed me to this day to hunt for what is unique. As I work from observation I see volume in space as real as the leaf itself. I find working from life to be full of tension, dangling with an unknown outcome, riveting in that specific moment in time. Each painting and drawing is different, just as each moment in time is unique.
My formal training started at Pratt Institute (BFA), continued at De Paul University Theatre School (BFA) and at the New York Studio School of Drawing, Painting and Sculpture (MFA). I received the Honenbergh Travel Grant to work and travel in Europe, participated in the Rome Art Program, and have exhibited nationally and internationally.