{"id":34099,"date":"2014-09-01T05:04:59","date_gmt":"2014-09-01T09:04:59","guid":{"rendered":"http:\/\/oncubamagazine.com\/?p=34099"},"modified":"2014-08-31T13:32:22","modified_gmt":"2014-08-31T17:32:22","slug":"i-painted-what-i-experienced","status":"publish","type":"post","link":"https:\/\/oncubanews.com\/en\/culture\/visual-arts\/i-painted-what-i-experienced\/","title":{"rendered":"I painted what I experienced"},"content":{"rendered":"

PEDRO PABLO OLIVA (Pinar del R\u00edo, Cuba, 1949). From 1961 to 1964 he was enrolled at the provincial School of Visual Arts in the western province of Pinar del R\u00edo, and subsequently he specialized in painting at the National School of the Arts (ENA) in Havana, graduating in 1970. He is a member of the Union of Writers and Artists of Cuba (UNEAC) and the International Association of Visual Artists (AIAP). He has exhibited in major galleries in Italy, the United States, Panama, Colombia, Spain, Sweden, France, Mexico, and elsewhere. Since 1993, his work has appeared in Christie\u2019s and Sotheby\u2019s Latin American art auctions. <\/em><\/p>\n

The outstanding visual artist Pedro Pablo Oliva is currently immersed in making seven sculptures that will be conceived at the Fundici\u00f3n R.U.N., in Miami, and that are, in a way, the continuation of a project that he began way back in 1970, when he graduated from Cuba\u2019s National School of the Arts (ENA), where he specialized in painting. Oliva, winner of the 2006 National Visual Arts Award, has moved from two- dimensional to three-dimensional work through ceramics, which is \u201ca way of doing sculpture,\u201d he tells OnCuba in an exclusive interview.<\/p>\n

He adds: \u201cI wanted to see my characters sharing the same physical space. I just needed to animate them. Sculpture has the charm of sitting at the table with you; painting<\/p>\n

\"From<\/a>
From the series Utop\u00edas y disidencias. Las extra\u00f1as divagaciones de Utopito, 2013 (Mixed media on cardboard 75 x 55 cm)<\/figcaption><\/figure>\n

has the wonderful charm of illusion. Without my teachers I wouldn\u2019t have been able to do anything. One was Osmany Betancourt (Lolo), and the other was Miguel Leiva,\u201d he emphasizes. Oliva asserts that his generation\u2014the so-called 70s Generation\u2014 \u201cattempted to prolong the journey that previous generations took in search of cubanidad [Cuban-ness].<\/p>\n

The goal was to hold onto that term without losing the experience of what was being done outside of that time and context. Nationality is much more than a color, transparency and themes. Above all, it is a spiritual condition that ties you to a cup of coffee or the enchantment of a way of walking, talking and laughing. My generation leaves the same legacy as all generations: utopia.\u201d<\/p>\n

On Sept. 7, 1984, at the national Museum of Fine Arts, Pedro Pablo\u2019s first solo exhibition opened: Pinturas, dibujos, bocetos y pasatiempos (Paintings, Drawings, Sketches and Pastimes), and in 2007 he exhibited Historia de amor (Love Story), at the same museum. The two shows are separated by more than 30 years, but they shared the common denominator of his zeal to leave evidence of time experienced: \u201cAfter three decades, they are separated by another perspective, the one that tells you that you\u2019ve returned to your starting point.<\/p>\n

They are united, an absurdity that could only be answered by every human being in this country when they ask themselves, in solitude, what did we do, how did we get here, where did we leave our happiness and love behind; what did they do with our hands and smile; where did we lose the seeds of our dreams. They are united by having said to our eyes: look, this is life,\u201d he says categorically. He admits that his closest influences include Antonia Eiriz and \u00c1ngel Acosta Le\u00f3n, but the reasons are different.<\/p>\n

The first moved him by her \u201cdenunciation of hypocrisy, fear of the monster that one carries inside. The mysterious enigma of human relations.\u201d And the second: \u201cThe everyday journey to the imagination. Both of them [moved me with] their inner heartbreak.\u201d Convinced that as an artist he has the responsibility of leaving evidence of the era in which it has been his lot to live, Pedro Pablo Oliva believes that painting is another way of talking, of communicating: \u201cMy work will be just another testimony to a time lived. It won\u2019t be anything more than a fleeting reference to an era in which reality was much more devastating than any word could be. The utility of a work is infinite or finite.<\/p>\n

As the years go by, some vestige of life will emanate from it and somebody will say: \u201cIn a place lived a man who expressed his life in his own way, who loved and suffered, who kicked and was kicked, who screamed, and dreamed, but who did not remain silent.\u201d Because of its heavy load of truth, El gran apag\u00f3n (The Big Blackout, 1994)\u00a0is considered as the Cuban Guernica; however, according to its artist, every painting is \u201cfull of truth and lies, digressions and realities,\u201d and he asserts that he only tried to put himself in everyone\u2019s place: \u201cThat painting came out, I don\u2019t know how.<\/p>\n

It could never have the expressive anguish of El Guernica, or even its formal impulse.\u201d However, it was unquestionably a cry in response to a crisis; \u201cit was the sense of independence\u201d despite the fact that he believes he could never judge it in all certainty: \u201cI just know that I gave birth to it.\u201d With a beautiful, vast iconography in his possession, Oliva admits that each one of his pieces are like comic strips full of worlds and traps: \u201cLike video games, with the surprise of becoming something else on every canvas, some into a rabbit or a fish, others into a cloud or a stream,\u201d and using color, which he says, \u201cis the trap; after it traps you it talks to you. It is harmony, air. Sometimes I am liberal with it, excessively rational. I have a passion for drawing.\u201d<\/p>\n

From the start, this artist\u2019s work has been profound, of pure thought, and bordering deeply philosophical matters, but also clinging to a markedly playful, almost childlike atmosphere: \u201cCreation is as mysterious as man himself. Everything can be a pretext or not. What is certain is that the allusion to childhood appears as a real phantom in my work. Maybe that is why the most serious themes take on a nuance of tenderness that I cannot avoid.\u201d<\/p>\n

In response to the question of whether he views life as a permanent battle or a permanent ambush, he clarifies: \u201cBoth of them are life. Sometimes they kill you, other times you survive. Sometimes you\u2019re betrayed; others times you are covered with glory. I have loved a lot, and I have been loved. At other times I have loved and not been loved; I have not loved and been loved. Life is a war to achieve a stability that does not come very often. Triumphs are ephemeral, like insects that never see the sun. I painted what I lived, and therefore, I was surprised by the amazement.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"

PEDRO PABLO OLIVA (Pinar del R\u00edo, Cuba, 1949). From 1961 to 1964 he was enrolled at the provincial School of Visual Arts in the western province of Pinar del R\u00edo, and subsequently he specialized in painting at the National School of the Arts (ENA) in Havana, graduating in 1970. He is a member of the […]<\/p>\n","protected":false},"author":2480,"featured_media":34197,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[13919],"tags":[],"ppma_author":[33682,7146],"class_list":["post-34099","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-visual-arts"],"acf":[],"yoast_head":"\nI painted what I experienced | OnCubaNews English<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/oncubanews.com\/en\/culture\/visual-arts\/i-painted-what-i-experienced\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"I painted what I experienced | OnCubaNews English\" \/>\n<meta property=\"og:description\" content=\"PEDRO PABLO OLIVA (Pinar del R\u00edo, Cuba, 1949). 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