Penelope , 2017
19.6 x 34.4 in (h x w)
5000 USD
etching aquatint / paper

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Sandra Ramos was born in Havana, Cuba in 1969. She was educated at the Elemental School of Visual Arts 20 de Octubre, at the San Alejandro Academy and at the Higher Art Institute (ISA); all in Havana, Cuba.

Ramos work can be found as part of the collection of prestigious museums and institutions such as The Museum of Modern Art (MOMA), New York, NY; The Museum of Fine Arts (MFA), Boston, Mass.; National Museum of Fine Arts, Havana, Cuba; National Royal Museum of Art, Ontario, Canada; Arizona State University Museum, Arizona; Grafik Museum Stiftung Schreiner, Bad Steben, Germany; Lehigh University Museum, Penn University, Philadelphia; Civitella Ranieri Foundation,Italy; Fort Lauderdale Museum of Art, Ft. Lauderdale, Florida; and Ludwig Forum fur Kunst, Aachen, Germany. In 2013 Accola Griefen presented Ramos’ first solo exhibition in New York City.

Her work illustrates her views of the political and social contemporary context in her country and worldwide. Ramos takes elements and recognizable characters from political cartoons to comment humorously about a very dared reality. Although it is an autobiographical work in many ways, it relates to a generational position, provoking dialogue among private and public, personal and collective memories. Ramos lives and works in Miami, Florida.

***

In the series of aquatint etchings that I made in 2017, the main theme continues to be the reflection on my personal relationship with Cuban history and politics and how these are integrated into a uniformed collective experience that involves all people born in this island after the 1959 Revolution. I have worked with this subject and the character of the alter ego of the Pioneer girl for many years through the symbolic representation of the connection between the shape of the Island and the Sea that surrounds it and how this symbiosis defines the destinies of the Cuban people. The Mare Nostrum, Caribbean Sea, Beautiful Sea, Dangerous Sea, Mare Monstrum, which isolates us not only geographically but also politically by making access to migratory routes to the north very difficult and risky.

These pieces and the title of the series particularly make references to the trauma of emigration in relation to the contingencies and insecurity of oceanic crossings through allusions to ancient paradigms and stories found in Greek and Roman mythologies such as Penelope, Pandora, Leviathan, the Trojan Horse or Cronos devouring the earth in Mundi- cidio. All the images try to reflect emotionally and subjectively through narrative illustrations, my concerns about the future of my country and the planet. In them I criticize our ruthless approach to the excessive exploitation of the resources of nature and the sea. I also intend to draw attention to the profound inequalities in human development, the lack of freedom and the difficult access to a better life for everyone in the world, which are the fundamental cause of the continuous human displacements and migratory waves to the richest countries.

Exhibited by:

Accola Griefen Fine Art

Other works by Sandra Ramos

Caballo de Troya (Troyan Horse) , 2017
19.6 x 34.4 in (h x w)
etching aquatint/ paper
Accola Griefen Fine Art
USD
5000.00
Dos islas peleando (Two Islands Fighting) , 2017
15.7 x 19.7 in (h x w)
etching aquatint/ paper
Accola Griefen Fine Art
USD
2500.00
Corre conejo (Run Rabbit) Visual Haikus Series , 2020-19
35 x 45 x 5 in (h x w x d)
Installation: Animation & Woodcut
Accola Griefen Fine Art
USD
12000.00
Isla desierta (Desert Island) Visual Haikus Series , 2020-19
35 x 45 x 5 in (h x w x d)
Installation: Animation & Woodcut
Accola Griefen Fine Art
USD
12000.00

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