This play is a reflection on the (im)possibility of accepting diversity and the other. The fragmented body of the neoplasm—the fruit of unstable conditions—overcomes barriers, loves and denies itself and others, wanders around, forgetting its profession. It frequently and with pleasure divides, goes through dangerous palpation, questions the possibility of contact with the experience of the other. Poorly brought up but very successful, it invites us to a trans-species transition.
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In his analysis of Pérez's Ecosystem, Cuban art critic and curator Abelardo Mena Chicuri notes that in Pérez's paintings, "the characters, scenes, trades, and pictorial techniques, extracted from Cuban nineteenth-century art, coexist in an endless carnival with Black slaves, white masters, sensual mulatto women, production technologies, and urban landscapes that offer a critique of the foundational myths of the Cuban nation."
Interestingly, however, Chicuri writes that in his latest artworks, including Ecosystem, "Douglas somehow changed the brand that has identified him so far and now depicts topics that are more universal, bearing no direct relation to the shadows of Cuban history or to local myths. In these paintings, the backgrounds are abstract scenarios inhabited by conglomerates of human beings who have been subjected to ridicule and heartless compression, reduced to flesh and bones. These beings are anonymous participants in a parade, devoid of initiative and self-determination... The vision transmitted by these paintings is, above all, skeptical and anti-utopian."
Curated by Alejandro De La Fuente
Exhibition
Douglas Pérez graduated from the Instituto Superior de Arte in 1996. His paintings often make use of pictorial quoting, or appropriation, which became popular at the ISA during the 1980s.
