¿Mantle or sackcloth?

Knowing Vladimir de Leon is one of those experiences that you drag lifetime as proof that ever closer to the uniqueness of genius. It is to confront the designer, the artist, the poster, the idealist who lives in his own universe, populated by creatures straight out of his ideas and their hands. “Tecníconos” calls his creator, who gives them a rare blend of humanity-inhumanity. Obsessed by technology, by science-fiction and advertising mechanisms artist might seem at first glance; however, it suffices a reunion with his work, a brief dialogue with it to begin reconstruction of the speech the Vlado deconstructs, hiding behind the basic tools of graphic design.
Symmetry in the forms and composition, complementary colors, metallic surfaces, cuts magazines carefully chosen and placed on planes covered with vinyl primary colors, are unified into a harmonious whole that is taking shape in a message which, in the manner of the best representatives of postmodernism, one choosing to build his proposal precisely those elements that refuse defends position.
Vladimir refers to man, always and above all, even though it generally does not appear in his works, or do as robotic mutant. Defends his intellect, his creativity, his ever-growing thirst for novelty, but also uses sarcasm, parody, to defend their mistakes, their egocentric attitudes and snobbish. And for this, using technology, materials exponent of human development, cause and consequence, vicious circle in this case mimics the snake biting its tail, because what this symbol at the end but the representation of the eternal, or that otherwise, what is this anxiety about what brand new, so perfect, but an awareness of our fragility, the state of being of passage and the need
to transcend. Without this will, civilization would have been stuck, resigned in its transience, a “to do if we stop being”
Create as primordial objective of man to create history, to create for the future, but also create a strategy to compete as food to the ego. Create to be, to survive. No matter whether you move angels or demons, man creates as God, for others the same way and does not care if after its creation denies or crushes; As the creator loves, he is proud of it. It is his work that makes it eternal.
Then this tool powerful artist, deep questionings, disturbing his poetry. Vlado discursa in the perennial philosophical dichotomy of “To be or not to be” to remind us: “This is your work, this is also your Cross”
You might think that your goal is the complaint that his “tecníconos” are proof of what has made us the obsession with development that suffers because the machine has taken the place of man, for his iconography is pure technology, but Vladimir complaint does not really celebrate, and praise the work is sublime creator, so his speech is above all, profoundly human. After all: Is not this footprint we leave, the best evidence of our greatness?

Montero Martinez Sussette
 Havana. June 2005

Havana, Cuba 1963.
Graduated from the Academy of Fine Arts. “San Alejandro”. Havana, Cuba 1981.
Painter, draftsman, screen printer, engraver, graphic designer and installer
Team founder Knot
Member of “Next Generation”.
Solo Exhibitions
1989 “personal fetishes”. Faculty of Philology at the University of Havana, Cuba.
1990 “RCA Knot”. IV Biennial of Humor. San Antonio de los Baños.Cuba.
1994 “Flowers Tools”. Austellung gallery. Mexico DF.
1995 “Llaguno”. Gallery Carabobo. Caracas. Venezuela.
1996 “Nippon Model”. Shirano Gallery, Tokyo. Japan
1996 “Art Integrated”. Havana Gallery. Cuba
1997 “inconclusive Time”. Model of the City Gallery. Havana.
1998 “Smoking is not harmful.” Development Center for the Visual Arts. Havana.
2000 “Recent works”. Artist Jorge alternative space Perugorría. Havana.
2001 “I Filters distorting”. Podomorfos gallery. Fuerteventura. Canary Islands. Spain.
2001 “distorting II Filters”. Tindaya Commercial Building Gallery. Canary Islands. Spain
2001 “Cuba round” Gallery EEGEE-3. Madrid. Spain
2002 distorcioantes III Filters, Havana Gallery, Havana, Cuba ..
2003, gaining ground, Suyu Gallery, Plaza de Armas, San Cristobal de la Habana.
2007. Estilocentrico: NO, Metaestilo: SI Teodoro Ramos Gallery Havana.
2010. A walk in the woods. January February. South Border Gallery. Beirut. Lebanon.
Cultural 2011. Cases. October November. Gallery Hotel Melia Cohiba. Havana.
2012. Cases II Cultural Gallery Morro Cabaña. Havana Biennial.
Group shows
1994 “The other Wall”. Faculty of Philology at the University of Havana, Cuba.
1995 Competition “March 13”. Thalia Hall. Havana. Cuba.
1995 International Fair of Arete. World Trade Center. Sala Olmeca. Mexico DF.
1995 “Images of Martí”. Travelling exhibition:
· Museum of Contemporary Art Panama.
· Guayasamin Foundation. Quito, Ecuador.
· Ruben Dario National Theater. Nicaragua.
· Casa del Lago. Mexico DF.
· Wilfredo Lam Center. Havana, Cuba.
Contemporary Painting Exhibition 1995 “Juan Francisco Elso”. Museo Nacional de Bellas Artes. Havana, Cuba.
1995 “I Contemporary Art Exhibition”. Museo Nacional de Bellas Artes. Havana, Cuba.
1996 Meguro Museum of Art. Tokyo, Japan.
1996 Design Alternatives no. 1. Development Center for the Visual Arts. Havana, Cuba.
1996 Next Generation. University of Quebec. Montreal, Canada.
1996 Cuban Posters New. 1990-1995. Center of Development of Visual Arts in Havana and Cuba Ludwig Foundation.
1996 Poster Young Cuba. Metropolitan Autonomous University. Tecolote cultural center. Mexico DF.
1996 New Poster Cubano. . Quito, Ecuador.
1996 International Arts Exhibition Posters. Graphic Designers Association. II Biennial of Posters of Ecuador.
1997 Posters of Cuba from 1959 to 1996. University of Quebec. Montreal, Canada.
1997 Cuban Posters. Gallery Konstfack. Stockholm, Sweden.
1997 Engraving Meeting ’97. Provincial Center of Visual Arts and Design. Havana, Cuba.
1997 “Cuban Art”. Museum of the Americas. San Juan, Puerto Rico.
1997 “ARCO 97” Madrid, Spain.
1997 Exhibition of Painting. Pamplona, ​​Spain.
1998 “ARCO 98” Madrid, Spain.
1999 Draft Land Art. Imaginary territory. Fuerteventura. Canary Islands, Spain.
2002 “line, O line.” 17. Vedado Someca floor building. Havana, Cuba.
2002 “From a Black Hole”. Cuba. SonSpace. Pals. Gallery Christian Dam. Copenhagen, Denmark.
2003 “From a Black Hole”. Cuba. Cultural Center of Spain. Havana, Cuba.
2003 “Common Sense”. Havana Gallery. Cuba.
2004 “Havana: inside-out”. Jonathan Ferrara Gallery. New Orleans, USA.
2005 “Untitled Cuba”. HEIDI CHO gallery. N.Y., USA.
2006 “The Multiple Footprint”. Gallery Convent of St. Francis of Assisi. IX Biennial of Havana.
2006 “Pacemaker”. Hotel Melia Habana. IX Biennial of Havana.
2008. Six Cuban Artists. Hotel Parque Central, Havana. Cuba. January.
HDCO 2008; Toronto. Contemporary Cuban art. March.
2008. Contemporary Art. Black and White Gallery. Coral Gables. Florida.
2008. First of all. 13 Contemporary Artist in Cuba. Alabama School of Fine Arts. Georgia. U.S.
Focus Exposició 2009. Collateral to the 10th Havana Biennial.
2009 Contemporary Cuban Art. Traveling exhibition. September October. Secretary of Economy of Mexico. Mexico DF
Dreams 2010. Open. Collective exhibition. Buenavista Building. Miami Design District. October November.
2012. Collateral Havana Biennial Morro Cabaña Complex.
Works in Museums:
Meguro Museum of Art. Tokyo, Japan
Weisman Museum in Minneapolis Fredercik E.U.
Participation in Trade
Feria de Arcos Madrid, Spain 1997, 1998, 2000, 2002, 2005, 2006, 2008
Painting exhibition. Pamplona, ​​Spain. 1997, 2000, 2006

Series Bosques / Niña recogiendo flores que caen
154 cm x 205 cm
Acrylic on canvas


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