I am a Cuban artist; in 2010, I came to the U.S. as a refugee. I am obsessed with finding music in my painting. I am always looking to translate my Artworks into sound. My art has been exhibiting in galleries and museums in the U.S and Cuba. Some examples are the Binghamton University Art Museum, NY. Arnot Art Museum, NY. Museo de la Ciudad, Cuba.
I am currently working on developing my art, painting, and composing music in Syracuse, NY, U.S.
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I am obsessed with finding music in my painting. So my works are deeply linked to my music. Composing music for my artworks makes it possible for my art to reach a different dimension. In my art, I am working on different styles because I believe that each type of mood must be expressed in different art styles. These ideas of stylistic plurality also allow me to enrich, even more, the history I have with my art. Check out this great video
The development of my expressive trajectory has taken 20 years to evolve to its current phase. My current work began with a series of drawings that I began, in 1997. Today, my work contains two kinds of space; one space is visual and the other is based on my interest in music. The forms of each of the modes of artistic expression that I employ in my work – music and painting – are not necessarily intrinsically linked – because “musical forms” and “pictorial forms” do not function on the same sensory level. Nonetheless, as content, within a given work, these elements can fuse and affect an audience’s perceptual sensibilities. Such a fusion of sound and image was found in the history of film in silent movies. In this sense, such films were mute but not deaf.
As I have explored the fusion between image and sound, the work of Wassily Kandinsky has provided an inspirational model. Kandinsky’s ideas have entered my referential inspiration through my absorption of his intentionality as expressed in “Concerning the Spiritual in Art,” where he wrote:
“... The most modern musicians like Debussy create a spiritual impression, often taken from nature, but embodied in purely musical form. For this reason Debussy is often classed with the Impressionist painters on the ground that he resembles these painters in using natural phenomena for the purposes of his art. Whatever truth there may be in this comparison merely accentuates the fact that the various arts of today learn from each other and often resemble each other.”
Further down, he also stated:
“… And so at different points along the road are the different arts, saying what they are best able to say, and in the language which is peculiarly their own. Despite, or perhaps thanks to, the differences between them, there has never been a time when the arts approached each other more nearly than they do today, in this later phase of spiritual development.”
It is precisely in these concepts, as expressed by Kandinsky, that I have employed in developing the symbiotic aspects of my work. Evidently, artistic evolution since Kandinsky has continued from when he left us with these concepts. Contemporary Art has moved beyond Kandinsky’s legacy as it has departed from traditional conventions of artistic process and outcome. Despite such changes, the elemental spirituality of art does not change; and it is within the parameters of this conceptual structure that I create my work. In my artistic practice and intentionality, I seek to join the visual aspects of painting to the aural space of melody or pure sound in a manner that communicates this fusion.
All visual art can resonate with the spiritual in a manner that is intrinsically musical. This is even more possible today, as we live in an intellectual moment identified by Arthur Danto’s philosophy as the Post-Historic Period, in so referencing the end of traditional historical identification of “Art” or of a concept of art, which ruled on
artistic definition since the Renaissance to identify or deny artistic actualization. Danto’s conceptualization of art maintained that art had entered a new phase of artistic utopia, wherein all is permitted in the name of art. Pure art as Form lost its significance, but the new significance or meaning of such art has not yet been identified. As an artist, with the ability to function within Danto’s description of artistic possibilities, I seek to describe what I identify as my artistic sensibility within my artistic sensibilities and the trajectory of what I identify as my artistic intentionality.
Lately, my work’s fusion of sound and sight combines the experience of both into one expressive format, which can be experienced separately or in a combination of listening to music joined to the visual perception of interaction with painting. The meaning of the experience is found within the spectator’s experience, as it is the audience that provides meaning through the aesthetic moment produced by my work. Visual images are static but music flows. Images are frozen in time but music cannot be detained and its ongoing development unfolds as time passes. In perceiving how these two aspects of artistic expression develop, someone immersed within this created world can create a mental history for the image seen, altered through the sound of the music that animates its spiritual existence. As such, the “history” or the image or its “story” is recounted by the space that exists separating the diverse realities of music and painting. Fused in my work, these two areas of perception – sound and sight - are united into a holistic experience that enmeshes the spectator in a world that is between their perception and my intention for the work’s performative display. Thus, I challenge audiences to interpret and absorb the intrinsic nature of the work they perceive, that is my creative process, and the extrinsic perception of it that is the result of the spectator’s experience. In so doing, my goal is to enmesh the spectator into the perceptual performativity of seeing and hearing within an altered state of existence that seeks to find a place between the material existence of painting, the sound of music and the spiritual with art.
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2014- Exhibit at La Casita Cultural Center Gallery, Syracuse NY, US.
2012- Exhibit at Ann Felton Multicultural Center, OCC (Onondaga Community College),
Syracuse, NY, US.
2011- Exhibit at Lamar Dodd Art Center, entitled "Lamentations of Abisay" LaGrange, GA, US.
2008- Exhibit at Her-Car Gallery, Havana, Cuba
2002- Exhibit at Museo de la Ciudad (City´s Museum), Havana, Cuba
2001- Exhibit at Hermanos Saiz Gallery, Havana, Cuba.
1999- Exhibit at HER-CAR Gallery, Havana, Cuba.
2019- Exhibit at Arnot Art Museum: The 76th Regional Exhibition. Elmira, NY, US.
- Exhibit at Binghamton University Art Museum: Visions and Imagination, Cuban-
American and Argentinian Art. Binghamton, NY, US.
2018- Exhibit at Cristine Frechard Gallery: INCUBATION, Pittsburg, PA, US.
2017- Exhibit at Monmouth Museum of Art: "Hope for the Holidays" art show. N.J, US.
- Exhibit at Point of Contact Gallery, collaboration with the UK artist Susan Stockwell in
the project: Boite-En-Valise: Generate. Syracuse, NY, U.S.
- Exhibit at BAYart Gallery, Cleveland, Ohio, US.
- Exhibit at The Monmouth Museum of Art, January to March. New Jersey, U.S.
2016- Exhibit at Point of Contact Gallery: 40 Below’s Public Arts Task Force. Syracuse, NY, US.
- Exhibit at Dowling Art Center, Syracuse, NY, US.
2015- Exhibit at Arnot Art Museum, Elmira, NY, US.
2013- Exhibit at Edith Langley Barrett Art Gallery with Juan Cruz, Utica College, NY, US.
2012- Exhibit at the Biennial: TONY, the Everson Museum of Art, Syracuse, NY, US.
- Exhibit at Syracuse Stage, Syracuse, NY, US.
2011- Exhibit at “La Casita Cultural Center Gallery”, Syracuse, NY, US.
2004- Exhibit at “Origenes Gallery”, Havana, Cuba.
2003- Exhibit at “La Acacia Gallery”, Havana, Cuba
- Exhibit at “L Gallery”, Havana, Cuba
2001- Exhibition with “Proyecto Horizontal”, at “10 de Octubre Gallery”, Havana, Cuba.
2000- Exhibition with "Proyecto Horizontal", at "Morro Gallery", Havana, Cuba.
Public and Corporate Collection:
- Cuban Art Collection at Binghamton University Art Museum, NY, US.
- Art Collection at the Magazine “CdeCuba”, Barcelona, Spain.
- Larry B. Duncan, WestPoint, GA, US.
- Lamar Dodd Art Center, LaGrange, GA, US.
- The Charalampous Art Collection, Houston, TX, US.
Public and Corporate Commissions:
- “Save the Rain”, Onondaga Environmental Institute (OEI) and Onondaga Earth Corps. 2011.
Awards and Honors:
2013 -1stPlace Artwork Award at “Tech Garden Gallery”, Syracuse, NY, US.
2007 -Award for 10 years making art, of La Acacia Gallery, at Carlos Enrique Museum
(Huron Azul) Havana, Cuba.
1998 -X Art Competition: Drawing Award, "Mirta Cerra Gallery”, Havana, Cuba.
-1st Place Artwork Award: "Combate", at Her-Car Gallery, Havana, Cuba.
-Composing Music and Making a Video to Carlos Esteves´s Artworks. Work in Progres.
-Collaboration with Susan Stockwell, at Point of Contact Gallery, Syracuse, NY, US, 2017.
and “Juan Miranda´s Art”, 2016 - 2017.
- CdeCuba Art Magazinne, 2020
- Carl Mellor, “Exhibit Offers A Cuban Sandwich Of Styles.” Syracuse NewTimes. Dawling Art
Center, Syracuse, NY, 2016.
- Barrett Art Gallery, “Journeys to Individual Voices: Caribbean Artists in America. Juan Cruz
and Abisay Puentes”, Utica College, Utica, NY, 2013.
- TONY 2012, Everson Museum, Syracuse, NY, 2012.
- Rafael Grillo, “ABISAY PUENTES. MEDITATE.” CUBARTE Gallery, (Website) 2006.
Abisay Puentes, cuban artist
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