Transcendence Painting

I was born on June 29, 1965, in Havana, Cuba. I have been collecting and analyzing information to complete “The Fidel Micó Catalogue Raisonnée” (Art Documentation 2015, 34 (2): 349-353), and writing on relevant events (Mass Communication and Journalism 2015, 5:3). This non-profit research project, submitted to the Catalogue Raisonnée Scholars Association (CRSA) and the International Foundation for Art Research (IFAR), is available for free download. My research interests have included ambidextrous painters, blind painters, landscape painting, appraisal and valuation of artworks, art market interactions, and the matrix of the art world. I started independent research on painting after a visit to the studio of the ambidextrous painter Fidel Micó, and informal meetings with artists of the Cuban artistic movement known as “Horizontes”. I am working on detailed examination of paintings at the Mico’s studio, and learning oil painting on canvas from this Cuban contemporary artist. I decided to paint oil on canvas because I found in the work of Wifredo Lam that most human perceptions cannot be represented and transferred to other persons by writing and speaking. Undoubtedly, visual arts and music hold critical roles to improve human condition and transcendence at global scale. I am one of those persons who paid attention to the fourth word of the statement “Science is the art of doubt.” I also agree with Prof. Julian Stallabrass on the idea that art should be made for everyone (Art History 2014, 37 (1): 148-165), and, turning back to Lam’s work, I can feel energy coming far beyond we can see, smell, taste, hear, and touch. Something between “rigorous explanations of reality” and “blind faith” remains to be incorporated into human live and evolution.