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Friday, February 13, 2026
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2026 Oolite Arts residents

2026 Oolite Arts residents
2026 Oolite Arts residents

2026 Oolite Arts residents

Oolite Arts is  pleased to welcome 13 exceptional artists to the Oolite Arts Studio

Residency Program. Over the course of their residency, these artists will expand

their practices, push creative boundaries, and contribute meaningfully to the

cultural life of our community. We look forward to sharing updates as the

residents settle into their studios and begin their work.

They are (from top right)

Diego Gabaldon, Returning Studio Resident

Diego Gabaldon is a Miami-based artist and designer with a BFA from Tufts University and a BA from the University of the Arts London, Central Saint Martins. Influenced by the sporting culture of bodybuilding, organized sport, and biology, Gabaldon explores the intersections between the psychology of competition, hypermasculinity, and the obsession with physical transformation. His work has been exhibited both domestically and internationally, including shows at Laundromat Art Space, Central Saint Martins, the School of the Museum of Fine Arts, and the National YoungArts Foundation.

Website: https://threatappraisal.pro/

Gonzalo Hernandez, New Studio Resident

Gonzalo Hernandez was born in Lima, Peru (1991) and lives and works in Miami, Florida. He received his MFA from the Savannah College of Art and Design. Upcoming exhibitions include a group exhibition This is America (tentative title), curated by Maritza Lacayo at the Pérez Art Museum in Miami. Recent solo exhibitions include presentations at David Castillo Gallery, Miami; Kates-Ferri Projects, New York; SCAD Museum of Art, Savannah; ICPNA, Lima and Vigil Gonzales, Buenos Aires and Cusco. His work has been featured in international exhibitions such as the II Bienal Textil (Santiago, Chile), the AIM Biennial (Miami), and group exhibitions at Mindy Solomon Gallery (Miami), LVL3 (Chicago), Laney Contemporary (Savannah) and Charlotte Street Foundation (Kansas City), among others. His work is included in major public and private collections, including the Pérez Art Museum, Miami; ICPNA, Lima; the Savannah College of Art and Design, Savannah; El Espacio 23, Miami; among others. Hernández’s work has been reviewed in ARTnews, Hyperallergic, Cultured Magazine, Artpapers, Artnet, Burnaway, and numerous others.

Website: https://www.gonzalo-hernandez.com/

Sepideh Kalani, Returning Studio Resident

Sepideh Kalani, a Persian artist who immigrated to the United States in 2021, received her B.F.A. from the University of Guilan, Iran, in 2015, supported by a tuition waiver scholarship. She went on to earn her M.F.A. in Fine Arts from the University of Miami in 2024 with a full scholarship. Her curiosity about the intersection of art and science led her to study Neuroscience in 2016–2017. Since 2015, she has been self-taught in ceramics and glazing, continuously expanding her expertise.  Alongside her artistic practice, Sepideh has mastered traditional skills rooted in Persian culture, including ancient glazing techniques, miniature painting, character design, woodcraft, carpentry, plaster molding, and pottery. Her work has been exhibited in prominent museums and galleries, and her pieces are held in collections in both Iran and the United States. Now based in the United States, Sepideh creates sculptures that serve as storytellers, drawing from her experiences as an Iranian woman navigating religious, political, and gender transitions. Her work bridges cultural heritage and contemporary expression, weaving narratives that resonate across borders.

Website: https://www.behance.net/BLUE_SEPIDEH

Shayla Marshall, New Studio Resident

Shayla Marshall (b. 1999, Miami, FL) is a contemporary mixed-media artist now based in between Miami and London, whose work uses world-building techniques to imagine new histories and futures, ones not prewritten for her. Raised in Miami’s culturally rich and predominantly Black neighborhoods, her upbringing informs a celebration of identity and place. At 18 she moved to California, where living outside the familiarity of home exposed her to the broader complexities of being Black in environments not always safe or affirming.

Now a full-time artist, Marshall holds her MA in Contemporary Art Practice from the Royal College of Art, the world’s leading university for art & design according to the latest rankings. Her practice pulls disparate moments in time into layered, immersive worlds where storytelling is the foundation, inviting viewers to dwell in the flamboyance and depth of narratives often overlooked. Her work has been shown in institutions such as the Saatchi Gallery (London) and Greenspace Miami (2025). She has completed multiple residencies including at the Bakehouse Art Complex in Miami, and is a recipient of the Miami‐Dade County Artist Grant.

Bex McCharen, Returning Studio Resident

Bex McCharen (they/them) is an interdisciplinary artist, fashion designer and founder of the inclusive fashion label Chromat. Their work, filtered through the mediums of quilting, textile art, fashion, photography and social practice, creatively reimagines sustainable futures, climate optimism and queer joy. McCharen was awarded the Smithsonian National Design Award in 2021,  recognized by Forbes 30 under 30 “People Who Are Reinventing the World” and was honored in the OUT 100 as one of the LGBTQ’s communities’ brightest voices. Their work has been profiled in The New York Times, The Wall Street Journal, Vogue and Elle. Collaborations include Beyoncé, Intel, Disney, Reebok, MAC and MIT. They gave a TED Talk on inclusive design, and have facilitated design and art workshops at Pérez Art Museum Miami, Lotus House women’s shelter, the Miami Workers Center, the Alliance for LGBTQ Youth and are currently an artist in residence at the Miami Cancer Institute.

Website: bexwater.com

Lucía Morales, New Studio Resident

Lucía Morales is a Miami based artist and educator, from Perú. Her childhood home and cultural heritage have shaped and influenced her artistic practice. Maintaining a strong connection to her roots, she has danced Peruvian and Andean folklore since childhood. Her artistic practice is concerned with how migration and immigration challenge notions of identity. Morales uses textiles, paintings, video, and installation to create figurative works that speak to her current experience as well as the transformative moments of her past. As her work grows in scale and scope, her intention is to make community visible by including the stories and histories of others and by taking up and creating spaces to be shared with others.

Morales obtained her MFA from Florida International University in 2025 and holds a Master’s of Art Education and a Bachelor’s of Landscape Architecture from Florida International University. Morales has been involved with dance as an assistant instructor and performer with Sumaj Tusuy Dance since 2003. She has been an Art Educator for many years with Broward and Miami-Dade public schools, and with various local cultural institutions. In 2024, Morales presented her work at The Quechua Alliance’s Annual gathering in Chicago, IL and at Kuyayky STARTLabs in Jauja, Perú, both organizations focus on the importance of Quechua language and Andean traditions. In 2025 Morales was selected for the Oolite Arts Home+Away Residency at MASS MoCA, the MOAD MDC Artist Residency at MDC Kendall, Bakehouse Art Complex Associate Artist Residency, and a Wavemakers grant from Locust Art Projects.

Website: https://luciamoralesart.com/

Genesis Moreno, New Studio Resident

Genesis Moreno (b. 1991, Illinois) is a Miami-based textile artist who turns quilting into a language of vulnerability and self-expression. Working through a feminist lens, she stitches together themes of trauma, mental health, and obsessive care, transforming familiar fabrics into charged objects. Her quilts resist being seen only as comfort or ornament; instead, they ask the viewer to sit with discomfort, memory, and emotion.

Genesis received a Bachelors of Fine Arts from the School of the Art Institute of Chicago in 2017 on a Merit Scholarship. Her recent exhibitions include “That Which Frightens Us” at Primary Projects in Miami, FL, “Thinking Matter” at Ear Ear Projects in Munich, Germany, and “Everything Ends Eventually” at Latchkey Gallery in New York City. She has also participated in the Woodstock Byrdcliffe Guild Residency in Woodstock, NY.

Website: https://www.genesismoreno.com/

Ana Mosquera, Returning Studio Resident

Ana Mosquera (b. 1983, Caracas, Venezuela) is a media artist based in Miami. She received her MFA in Sculpture from Tyler School of Art and Architecture in 2020 and a BArch from Universidad Central de Venezuela in 2015. Through interactive installations and digital storytelling, her work engages with technology to explore how it shapes systems and reveals underlying social structures. Her most recent exhibitions include Carnet to Go at Espacio de Arte Contemporáneo, Montevideo (2023); Tierras Raras (solo) at Sala Mendoza, Caracas (2022); Familiar Distance at Edge Zones, Miami (2021); and ¿Por qué Islas? (solo) at Licencia de Reconocimiento, Tenerife (2021). In 2021, she received the Honorable Mention Carmen Cordovez Crespo by HFFA at the 16th edition of the Mendoza Awards in Venezuela. She was also awarded the 2016 National Prize for Young Artists by the Museum of Contemporary Art Zulia, Venezuela.

Website: https://www.anamosquera.com/

Sheherazade Thenard, Returning Studio Resident

Sheherazade Thénard is an award winning and driven artist, curator and educator based in Miami. Their work reclaims the layered histories of my family’s assimilation from Martinique to the U.S., blending Afro-Caribbean symbolism, Black feminist media, and my experience as a Black queer artist in the South. Through vibrant yet dark palettes, she transforms autobiographical memories into reimagined geographies, creating textured, luminous spaces that evoke belonging, protection, and ancestral connection. As an educator and curator, they are deeply committed to the history of arts and how shared narratives shape community understanding and connection.

Pangea Kali Virga, Returning Studio Resident

Pangea Kali Virga, born and raised in New York, now lives and works in Miami. Her art is deeply rooted in social responsibility and environmentalism, as she seeks to convey urgent and complex messages in ways that are both beautiful and engaging. Through layered fiber artworks, dramatic experiential art and performances, free public sustainable art and skills workshops, and collaborative projects with public and private institutions, she brings these themes to life.

Kali Virga is committed to transforming the art and fashion industries into more sustainable and equitable spaces. She creates art and wearable pieces from upcycled materials and natural elements using zero-waste practices, reflecting her belief in the power of art and clothing as storytellers, cultural markers, and political catalysts.

Beyond her artistic practice, Kali Virga is a sustainability advocate, lecturer, arts event producer, and educator, sharing her expertise with hundreds of student artists of all ages.

Nadia Wolff, New Studio Resident

Nadia Wolff is a Haitian-american artist, designer, writer; and U.S. Presidential Scholar in the Arts. Wolff’s work–which ranges from installation, textiles, performance, printmaking, film, and poetic interventions– contemplates queer/Black/Caribbean aesthetics, history, and embodiment through a lens of intimacy.

Their first solo show took place at Bay Parc in downtown Miami through a residency in collaboration with AIMCO and The National YoungArts Foundation. Wolff was also an artist in residence at Queer.Archive.Work in Providence, Rhode Island. Wolff has also exhibited at Franklin Street Works; Prizm Art Fair during Miami Art Week; the Granoff Center for the Creative Arts; the RISD Museum; Ori Art Gallery; the Rubell Family Collection; the National YoungArts Foundation; and the John F. Kennedy Center.

Website: https://nadiawolff.cargo.site/

Ricardo E. Zulueta, Returning Studio Resident

Ricardo E. Zulueta is an interdisciplinary artist and scholar born in Havana, Cuba and based in Miami. Zulueta holds a Ph.D. in Cinema and Media Studies and an MFA in Visual Art from the University of Miami and has served as a Helbein Scholar at New York University. His practice functions across a genealogy of mediums including video, digital imaging, photography, software, mixed-media, painting, sculpture, performance, and installation.

From early analogy large-scale photo-performance stills to more recent immersive multi-media installations, his work consistently explores the intersectionality of mediated expressions of gender, sexuality, behavior, and identity within socio-political landscapes. Through research and praxis, Zulueta examines how technology and media shape, interrogate, and subvert normative notions of identity through experimental modes of storytelling. His projects manifest a vernacular of idiosyncratic codes and symbols of disidentification often informed by film and media studies, art history, queer theory, and cultural studies.

Zulueta is a recipient of the Art Matters Fellowship, New York Foundation for the Arts Fellowship, South Florida Cultural Consortium Artist Fellowship, Cintas Foundation Artist Fellowship, Miami Individual Artist Grant, and Oolite Arts’ Ellies Creator Award. His work has been exhibited internationally at venues such as the Smithsonian Institution, Washington, D.C.; Museo Alejandro Otero, Caracas; Steirischer Herbst, Graz; Dazibao Contemporary Art Center, Montreal; Museo Nacional Centro de Arte Reina Sofía, Madrid; Western Front, Vancouver; Artists Space, New York; El Museo del Barrio, New York; International Center for Photography, New York; White Columns, New York, Grey Art Museum at New York University, New York, Bronx Museum of the Arts, New York; Exit Art, New York; Fotofest Biennial, Houston, and Creative Time Summit at Perez Art Museum Miami.

Website:https://www.ricardo-zulueta.com/

José Delgado Zúñiga, Returning Studio Resident

José Delgado Zuñiga (b. Ventura, CA) is an artist whose work engages history, autobiographical narrative, and community memory. Drawing from lived experience and the cultural memory of the Latin American diaspora, his practice emerges at the intersection of sound, memory, and image, creating visual narratives that echo the storytelling power of corridos.


Delgado Zuñiga earned an MFA in Painting from Columbia University and a BFA from Otis College of Art and Design. Notable exhibitions include Central Sounds, (Luhring Augustine, New York City 2022), IN THE KNOW, SHOW (GreenFamily Art Foundation, 2024), CUSP (Marquez Art Projects, 2023), and Fire Figure Fantasy (ICA Miami, 2022) He is a recipient of the Rema Hort Mann Emerging Artist Grant and the Robert Gamblin Fellowship, and has participated in the Bronx Museum’s Artist in the Marketplace program. His work is in the collections of the Institute of Contemporary Art, Miami; Marquez Art Projects; The Herbert and Lenore Schorr Collection; and the Hessel Bard Museum of Art. He lives and works in Miami.


Website: https://www.studiozuniga.com/

924 Lincoln Rd., Suite 205
Miami Beach, FL 33139

Beyond Fibers by Aurora Molina, Opening January 31st

Bernice Steinbaum Gallery
Bernice Steinbaum Gallery Beyond Fibers by Aurora Molina

Beyond Fibers by Aurora Molina, Opening January 31st

Bernice Steinbaum Gallery

In Beyond Fibers, Aurora Molina stages a surreal political tableau where power, spectacle, and silence coexist in uneasy harmony. The composition gathers a cast of familiar yet transformed figures that represents politicians, enforcers, protestors, and children—interwoven with animal hybrids that expose the instincts and absurdities behind political theater.

Through the careful rendering of gesture and costume, Molina collapses the distance between the human and the animal, the leader and the led. A donkey-headed statesman shakes hands with a suited iguana, a rabbit-faced officer kneels beside a child, and a tiger gazes outward as if aware of the performance. Protest signs emerge as fragile acts of resistance amid the hierarchy of spectacle.

The work extends Molina’s ongoing inquiry into visibility, control, and collective complicity. Here, embroidery becomes a metaphor for entanglement—threads of history, ideology, and identity woven together in a fabric of contradictions. The Cabinet of the Absurd reminds us that beneath the surface of civility, the political stage remains a theater of instincts and masks.

You are cordially invited to the Opening Reception
on Saturday, January 31st, from 4:00 to 7:00 PM
at the Bernice Steinbaum Gallery
2101 Tigertail Avenue, Miami, FL 33133

The gallery is open on Monday, Wednesday, and Friday
from 10:00 AM to 4:00 PM, or by appointment.

For more information, please contact us at (305) 860-3681.

Melissa Morgan Fine Art presents Light and Space 

Melissa Morgan Fine Art presents Light and Space 
Lisa Bartleson, Lunar 02, 2025, Acrylic, pencil, and sawdust on canvas with aluminum frame, 72-inch diameter

Melissa Morgan Fine Art presents Light and Space — an exhibition opening February 6, 2026 that explores perception, materiality, and the dynamic presence of light through sculpture, painting, and object.

Featuring new and recent works by Lisa Bartleson, Casper Brindle, Ned Evans, Jimi Gleason, Rob Grad, Andy Moses, and Francisco Valverde with atmosphere, reflection, and form.

Lisa Bartleson is a California–based interdisciplinary artist working across painting, installation, sculpture, and ceramics. Known for her exploration of materiality within the Light and Space movement, her work features repetitive, meditative mark-making and lustrous color strips. By concentrating on light, color, and luminescence, Bartleson methodically captures discrete transitions between hues, creating intense yet calming pieces that focus on a focal horizon point within each composition.She earned her B.A. in Biology from the University of Northern Colorado at Greeley. Though she didn’t pursue formal art education, her transition from science to art was fueled by a fascination with light, perception, and materials—leading her to self-teach techniques involving layered resin and mixed media.After moving from Los Angeles to Petaluma in early 2016—drawn by its diffused light and open landscapes reminiscent of her Pacific Northwest upbringing—Lisa entered an intensive period of exhibition activity.In February 2017, she presented The Memory Project at the Museum of Art and History (MOAH) in Lancaster, California, followed in September 2016 by an exhibition titled Work Over School at the Craft and Folk Art Museum in Los Angeles. Museum Exhibitions:Legacy – Museum of Art and History, Lancaster, CA (2015)Smooth Operations: Substance and Surface in California Art – Museum of Art and History, Lancaster, CA (2012)Circle of Truth – Museum of Art and History, Lancaster, CA (2019)Kindred – Museum of Art and History, Lancaster, CA (2018)The Memory Project – Museum of Art and History, Lancaster, CA (2017)Work Over School: Art From the Margins of the Inside – Craft and Folk Art Museum, Los Angeles, CA (2016)Bartleson’s museum presence reflects her sustained engagement with major public institutions, highlighting a career that combines scientific roots with artistic inquiry into light, color, and contemplative form.

Little Haiti & Little River Art Directory — Miami, FL

Kube Man Performance — Venezuelan Pavilion — Venice Biennale 2024-
Little Haiti & Little River

Little Haiti & Little River Art Directory — Miami, FL

Art District Hubs

Galleries & Art Spaces

Art Dealer Miami
6705 NE 3rd Ave, Miami, FL 33138
(305) 532-0609

Adriana Torres Torchez – Art Studio & Gallery / Collective 62 Studio and Gallery
6703 NE 3rd Ave, Miami, FL 33138

MIA Curatorial Projects
6945 NE 3rd Ave, Miami, FL 33138
(786) 357-0568

Primary Arts Venues

Mahara+Co / TOMAS REDRADO ART – Contemporary gallery promoting Latin American and international artists; engages exhibitions and cultural exchange.
224 NW 71st St, Miami, FL 33150

Opa Projects – Contemporary art space in Little River focusing on thoughtful exhibitions and collector-artist engagement.
7622 NE 4th Ct, Miami, FL 33138

Pendentive Studio – Art studio and exhibition space in the Little Haiti arts district.
7615 Biscayne Blvd, Miami, FL 33138

Dot Fiftyone Gallery — Contemporary gallery showcasing Latin American and international art.
Dot Fiftyone Gallery
7275 NE 4th Ave #101, Miami, FL 33138

Etra Fine Art – Art gallery presenting contemporary exhibitions.
6942 NE 4th Ave, Miami, FL 33138

Tranter-Sinni Gallery – Contemporary art gallery featuring established and emerging artists.
255 NE 69th St, Miami, FL 33138

Irazoqui Art Gallery – Contemporary art space supporting diverse artistic practices.
6857 NE 3rd Ave, Miami, FL 33138

Locust Projects – Nonprofit alternative art space featuring experimental, site-specific exhibitions and community programming.
Locust Projects
297 NE 67th St, Miami, FL 33138

Pan American Art Projects – Established gallery promoting artists from across the Americas.
274 NE 67th St, Miami, FL 33138

N’Namdi Contemporary – Contemporary art gallery with exhibitions featuring established and emerging international artists.
N’Namdi Contemporary Fine Art
6505 NE 2nd Ave, Miami, FL 33138

Nina Johnson Gallery – Contemporary gallery presenting a dynamic program of established and emerging artists.
6315 NW 2nd Ave, Miami, FL 33150

Laundromat Art Space – Artist-run project space featuring exhibitions and community events.
185 NE 59th St, Miami, FL 33137

Markowicz Fine Art – Gallery presenting contemporary and modern art from international artists.
241 NE 59th Terrace, Miami, FL 33138

Manolis Projects Gallery – Contemporary gallery with exhibitions and art events.
335 NE 59th St, Miami, FL 33137

Piero Atchugarry Gallery – International contemporary art gallery with exhibitions by global artists.
Piero Atchugarry Gallery
5520 NE 4th Ave, Miami, FL 33137

Additional Arts & Studio Listings

Archive 79 – Artist space focusing on curated exhibitions and programs.
170 NE 79th St, Miami, FL 33138

Dimensions Variable (DV) – Nonprofit arts organization presenting contemporary projects and commissions.
101 NW 79th St, Miami, FL 33150
(305) 615-3532

Art Force Studio – Creative art studio with diverse programs.
513 NW 72nd St, Miami, FL 33150

Carousel Fine Art – Gallery and exhibition space in Little Haiti.
7620 NE 4th Ct, Miami, FL 33138

Top Things to: Free Arts Day w/ Joanne Hampstead

Top Things to do in Hollywood, FL
Top Things to do in Hollywood, FL 01/18/2026

Top Things to do in Hollywood, FL 01/18/2026

Free Arts Day w/ Joanne Hampstead – Mixed Media Collage

Join us for a mixed media collage workshop led by Joanne Lam for this month’s Free Arts Day!

Save the date:

When: Sunday, January 18 at 12PM
Where: Hollywood Art and Culture Center
Cost: FREE
RSVP: thecenterhollywood.eventbrite.com

Enjoy free admission from 12-3 PM on the 3rd Sunday of every month!

Join us for a mixed media collage workshop led by Joanne Hampstead

In this mixed media collage class, participants will start with a black-and-white image and transform it into a bold, colorful, energetic artwork. The experience is designed to spark creativity, encourage fresh thinking, and inspire a sense of movement and possibility for the New Year. Open to all levels, the class invites participants to experiment, make intuitive choices, and leave with a vibrant piece that feels alive, expressive, and uniquely their own.

About Free Arts Days

Enjoy free admission on the 3rd Sunday of the month

Explore different mediums through drop-in art making activities designed to appeal to all ages.

Make sure to follow us on social media @thecenterhollywood and sign up for our emails to be the first to know!

What to become a member and get access to our full line-up of activities, while supporting art and culture in South Florida? Email Robyn Harper at [email protected] for more details about our memberships.

What to become a member and get access to our full line-up of activities, while supporting art and culture in South Florida? Email Robyn Harper at [email protected] for more details about our memberships.

About Us

Founded in 1975, the mission of the Hollywood Art and Culture Center is to cultivate creativity and the support of the arts in our community through education, innovation, and collaboration.

The Center promotes excellence in the visual and performing arts via contemporary gallery exhibitions, stage performances, documentary films, artist talks, and educational programs that reflect the highest standards of artistry and diversity.

The purpose is to inspire creativity, increase connection and improve communication to strengthen our community.

Combinaciones de Colores Africanos

Combinaciones de Colores Africanos
Combinaciones de Colores Africanos

Las combinaciones de colores africanos no solo son estéticamente vibrantes, sino que tienen profundo significado cultural, espiritual y simbólico, especialmente en el contexto de la vestimenta tradicional, arte, tejidos (como el kente ghanés), religión y celebraciones.

Aquí tienes un resumen de las combinaciones más comunes y sus significados generales en varias culturas africanas, incluyendo la yoruba (Nigeria), ashanti (Ghana), zulu (Sudáfrica), entre otras.

Principales combinaciones de colores africanos y sus significados

1. Rojo, Negro y VerdePan-Africanismo

  • Rojo: sangre derramada en la lucha por la libertad
  • Negro: el pueblo africano
  • Verde: la tierra, la riqueza natural de África

Esta combinación fue popularizada por Marcus Garvey y adoptada por el movimiento panafricano.

2. Rojo, Amarillo y VerdeColores etíopes

  • Colores de la bandera de Etiopía, símbolo de resistencia africana contra el colonialismo.
  • Rojo: fuerza, sangre
  • Amarillo: riqueza, fe, luz espiritual
  • Verde: fertilidad, esperanza, conexión con la tierra

Adoptados por países como Ghana, Senegal, Mali y por el movimiento rastafari.

3. Blanco y AzulEspiritualidad y pureza

  • Usados en contextos religiosos (como en la adoración a Yemayá en la tradición yoruba).
  • Blanco: pureza, paz, espiritualidad
  • Azul claro: protección, agua, maternidad

4. Negro y OroRealeza y poder

  • Muy usados en atuendos de jefes tradicionales o en textiles como el kente.
  • Negro: madurez, fuerza espiritual
  • Oro/Amarillo: riqueza, estatus, divinidad

5. Verde, Blanco y NegroRenovación y sabiduría

  • Verde: crecimiento, renacimiento
  • Blanco: claridad, espiritualidad
  • Negro: experiencia, sabiduría ancestral

6. Púrpura y Blanco o Púrpura y OroMisticismo y nobleza

  • El púrpura no es tan común como los otros, pero en algunas culturas representa la realeza espiritual o lo sagrado.

En textiles como el Kente (Ghana)

Los colores tienen significados muy específicos. Por ejemplo:

  • Azul: armonía, amor, paz
  • Verde: vida, cosecha
  • Oro: riqueza, estatus
  • Negro: madurez, conexión con los ancestros

Las combinaciones varían según la ocasión: funerales, bodas, coronaciones, etc.

¿Qué determina las combinaciones?

  • Religión (yoruba, akan, bantu)
  • Tribu o grupo étnico
  • Ceremonia (iniciación, matrimonio, luto)
  • Rango social o jerarquía
  • Simbolismo espiritual o ancestral

Miami Art Openings & Programs Saturday, January 17

Save the date! Saturday, January 17. Miami Gallery Art Guide
Save the date! Saturday, January 17. Miami Gallery Art Guide

Save the date! Saturday 17

Saturday, January 17

ALLAPATTAH (MIAMI)

KDR 305 — Opening Reception

Mark Thomas Gibson: The Voyage
A solo exhibition by Mark Thomas Gibson, whose work examines race, power, and historical narratives through painting, collage, and visual storytelling. The Voyage reflects on migration, identity, and imagined histories, using layered imagery that references both personal and collective memory.

Time: 6:00 – 8:00 PM
Address: 790 NW 22nd Street, Miami, FL 33127
Website: https://kdr305.com
Instagram: @kdr305
Phone: (305) 849-4690

Mindy Solomon Gallery — Opening Reception

Lanise Howard: In Aludria
Zoe Schweiger: Sun-Kissed
Ornella Pocetti & Marcelo Canevari: X Marks The Spot

This multi-artist opening brings together three distinct exhibitions. Lanise Howard explores myth, identity, and spiritual symbolism; Zoe Schweiger presents luminous, color-driven works informed by intimacy and perception; Pocetti and Canevari investigate irony, politics, and material transformation through sculptural and conceptual approaches.

Time: 6:00 – 8:30 PM
Address: 848 NW 22nd Street, Miami, FL 33127
Website: https://mindysolomongallery.com
Instagram: @mindysolomongallery
Phone: (305) 532-3758

Voloshyn Gallery — Opening Reception

Who’s there, old question, who’s here
Curated by Harold Mendez

This group exhibition considers presence, absence, and historical positioning. Through diverse media, participating artists reflect on visibility, memory, and the shifting conditions of belonging, offering a layered meditation on who occupies space—culturally, politically, and emotionally.

Time: 6:00 – 8:30 PM
Address: 802 NW 22nd Street, Miami, FL 33127
Website: https://voloshyngallery.art
Instagram: @voloshyngallery
Phone: (305) 797-4077

MIAMI — EARLY & DAYTIME PROGRAMS

ARRAE Gallery (Coconut Grove) — Workshop

Embroidery Collage Workshop
Led by Pangea Kali Virga, this free hands-on workshop invites participants to explore embroidery and collage techniques inspired by the artist’s current exhibition, blending craft, storytelling, and contemporary textile practice.

Time: 12:30 – 2:30 PM
Address: 3140 Commodore Plaza, Miami, FL 33133
Website: https://arraegallery.com
Instagram: @arraegallery
Cost: Free (registration recommended)

Tunnel — Open Studios (Downtown Miami)

Featuring Lauryn Lawrence and invited artists

An open-studio format showcasing work that addresses identity, spatial experience, and intersectionality. Visitors can engage directly with artists and their creative processes in an informal, exploratory setting.

Time: 4:00 – 7:00 PM
Address: 300 SW 12th Avenue, Miami, FL 33130
Instagram: @tunnelprojects

Locust Projects (Little River / Little Haiti) — Closing Event

So Long Soirée & Sweets + Souvenir Shop Sale
A farewell celebration for LA ESQUINITA by Tara Long. The event includes cocktails, music, dancing, and a final opportunity to acquire ceramics and objects from the exhibition.

Time: 3:30 – 6:00 PM
Address: 297 NE 67th Street, Miami, FL 33138
Website: https://locustprojects.org
Instagram: @locustprojects
Phone: (305) 576-8570

 Miami Figure Drawing Saturday Morning Group on Meetup.

  • Event: Live Figure Drawing.
  • Location: Artworks Associates, 4180 SW 74 Ct Unit #207, Miami, FL (Bird Road Arts District).
  • Date: Saturday, January 17th (year likely 2026 based on other posts).
  • Times: Morning: 9:30 AM – 12:30 PM; Afternoon: 2:00 PM – 4:00 PM.
  • Details: Sessions feature a live model with various poses (gestures, long poses), no formal instruction, and a fee for the model/studio.
  • Bring: Your own drawing materials (no oil paints or solvent-based materials). 
  • https://www.meetup.com/miami-figure-drawing-saturday-morning-group/events/gvwglsyjcdbcc/

Figure Drawing @ the Library – With artist Sofia Loren

Westchester Regional Library — 9445 Coral WayMiamiFL 11 AM12:30 PM SAT

Sat, Jan 17, 11:00am – 12:30pm

Join the Library’s Art Services team for an artist-led figure drawing session featuring live figure models. Learn basic drawing techniques through themed sessions designed for all skill levels. Whether you’re new to figure drawing or an experienced artist, this program invites you into a creative space where you can continue to express yourself while developing observational skills and growing your artistic confidence. For more information, please contact the branch at 305-553-1134 or [email protected]. Ages 19 yrs.+

TUNNEL OPEN STUDIOS

Saturday, January 17 | 4–7 PM @__tunnel
300 SW 12th Avenue, Miami, FL 33130
Open Studios
Participating artists:
@amnesia.ax @daavud @mariefrancoart @lunapalazzolo @fharidlatorre @csnnor @bchomitz @richie666 @thesaint.wav @laurynn_l @shelbillee @davideolivera

Suns and Shadows – Visual Arts Exhibition

Saturday, Jan 17, 2026 from 10:00 AM to 6:00 PM 

The Davis African Heritage Cultural Arts Center presents Suns & Shadows, a multidisciplinary exhibition curated by ROSCOE B. THICKE III

Davis African Heritage Cultural Arts Center
6161 Northwest 22nd Ave, Miami, FL 33142

NORTH & GREATER MIAMI


The CAMP Gallery (North Miami) — Artist Talk & Opening

Pablo Power: Vision / Version
Pablo Power’s first Miami solo exhibition reflects on memory, materiality, and transformation. The opening includes an artist talk, followed by a reception celebrating this immersive, process-driven body of work.

Artist Talk: 6:00 – 7:00 PM
Opening Reception: 7:00 – 10:00 PM
Address: 791–793 NE 125th Street, North Miami, FL 33161
Website: https://thecampgallery.com
Instagram: @thecampgallery
Phone: (786) 953-8807

BEYOND MIAMI


Coral Springs Museum of Art — Family Program

ARTventures Family Fun
A guided tour and hands-on art-making experience designed for families, encouraging creative exploration across generations.

Time: 2:00 – 3:00 PM
Address: 2855A Coral Springs Drive, Coral Springs, FL 33065
Website: https://coralspringsmuseum.org
Instagram: @coralspringsmuseum
Cost: Free

Biscayne National Park Gallery (Homestead) — Opening Reception

Vanishing Voices: Florida Mammals in a Changing World
Featuring The Palette Knife Artists of Miami and photographer Tony Fernandez, this exhibition explores environmental change and wildlife conservation through art and documentary photography.

Time: 1:00 – 3:00 PM
Address: 9700 SW 328th Street, Homestead, FL 33035
On view through: March 15, 2026

The Center Hollywood — Art Walk

Artist-in-Residence Studio Visit

Time: 5:00 PM
Address: 1650 Harrison Street, Hollywood, FL 33020
Website: https://thecenterhg.org
Instagram: @thecenterhg

Hartvest Project (Pinecrest) — Opening Reception

Shifting Grounds: Voices in Public Art
Curated by Hartvest Project and developed through a Public Art Mentoring Program led by Carola Bravo, PhD. Featuring Ivonne Ferrer, Mila Hajjar, Carmen Larrazábal, César Rey, and Aida Tejada.

Time: 5:30 – 7:30 PM
Venue: Chandelier Gallery at Pinecrest Gardens
Address: 11000 SW 57 Avenue, Pinecrest, FL 33156
Website: https://hartvestproject.org
Instagram: @hartvestproject

Qué debe saber un artista conceptual sobre Sigmund Freud y el arte

Qué debe saber un artista conceptual sobre Sigmund Freud y el arte
Qué debe saber un artista conceptual sobre Sigmund Freud y el arte

Qué debe saber un artista conceptual sobre Sigmund Freud y el arte

1) Freud como pionero del inconsciente y su impacto en el arte

Sigmund Freud (1856–1939) no fue pintor ni crítico de arte formal, pero revolucionó nuestra comprensión de la mente humana, introduciendo la noción de que existe un “inconsciente” que opera bajo la superficie de la conciencia. Para Freud, gran parte de la vida psíquica —deseos, miedos, fantasías— se manifiesta en símbolos, metáforas y sueños, y no en pensamientos claros y deliberados. TheCollector

Su idea de que los sueños son la “vía real hacia el inconsciente” (según The Interpretation of Dreams, 1899) fue tan influyente que muchos artistas del siglo XX vieron en ello una invitación a confiar más en los procesos no racionales al crear. Serenade Magazine

Por qué esto importa para un artista conceptual

Un artista conceptual no sólo hace objetos visuales: hace pensar, sentir y activar asociaciones en el espectador. Comprender que la mente humana funciona en capas —consciente y no consciente— ayuda a concebir obras que resuenen más allá de lo literal. Freud enseñó que lo que no se dice directamente puede tener más fuerza simbólica que lo que se explica con palabras o imágenes claras. TheCollector

2) Psicoanálisis y teoría del arte

Aunque Freud fue principalmente clínico, escribió ensayos donde aplica conceptos psicoanalíticos a obras de arte y artistas. Su estudio sobre Leonardo da Vinci (Un recuerdo infantil de Leonardo da Vinci, 1910) fue una de las primeras aplicaciones sistemáticas de su método para analizar la obra de un creador como reflejo de su historia psicológica y deseos inconscientes. Wikipedia

La crítica psicoanalítica, que deriva en buena medida de estos primeros escritos, ha influido en las formas en que los teóricos interpretan obras visuales: se busca no sólo lo formal o estilístico, sino lo profundo, lo oculto, lo reprimido detrás de la forma. Wikipedia

Lo esencial para un artista conceptual

Para un creador conceptual, la obra es una proposición, una pregunta, un signo abierto. Tomar en serio a Freud —aunque no como verdad científica absoluta— permite pensar en la obra como espacio de interpretación múltiple, donde cada espectador trae su propio inconsciente y asociaciones personales. Wikipedia

3) Artistas que incorporaron el pensamiento freudiano

Freud no enseñó a pintar, pero influyó profundamente en movimientos artísticos del siglo XX, sobre todo el Surrealismo, que buscaba liberar el pensamiento de las restricciones racionales. Artistas surrealistas como Salvador Dalí leyeron La interpretación de los sueños y lo adoptaron como guía para explorar el mundo interno, los sueños y las asociaciones libres en la pintura. TheCollector+1

La idea de que el arte puede surgir de procesos como la asociación libre o los sueños llevó a artistas a experimentar con métodos que evitan el control consciente directo, como los “automatismos” en dibujo y escritura surrealista. Arts Help

Relevancia para arte conceptual

Un artista conceptual, cuyo interés principal es la idea sobre la forma sensorial, puede inspirarse en estas prácticas para:

  • usar asociación libre como generador de ideas
  • concebir obras que dialoguen con lo inconsciente colectivo o individual
  • integrar símbolos con múltiples lecturas posibles
    Todo esto lejos de ser “estilo”, funciona como estrategia conceptual para abrir significado, no cerrarlo.

4) La sublimación: transformar pulsiones en obra

Freud introdujo el concepto de sublimación para describir cómo las pulsiones humanas —incluso aquellas con carga sexual o agresiva— se transmutan en actividad socialmente valorada, como el arte, la ciencia o la cultura en general. Wikipedia

Esto es especialmente relevante para artistas conceptuales, porque la sublimación no es represión: es una redirección de energía psíquica a formas creativas. En lugar de negar los impulsos internos, el arte puede integrarlos, transformarlos y hacerlos visibles de maneras originales.

5) Más allá del cliché: Freud y el arte no son lo mismo

Es importante señalar, como apuntan algunos críticos, que Freud no escribió una “teoría general del arte” ni consideraba que el arte fuera automáticamente una metáfora del inconsciente. Su relación con el arte fue indirecta, crítica e incluso ambivalente. Algunos surrealistas glorificaron sus ideas más allá de lo que Freud mismo sostuvo, y él mismo no siempre respaldó estas lecturas. revistavirtualia.com

En síntesis (Aprendizajes clave para un artista conceptual)

Un artista conceptual interesado en la herencia freudiana debería considerar lo siguiente:

  1. El inconsciente como fuente de sentido: la obra puede operar en los territorios donde la razón no alcanza. Serenade Magazine
  2. Símbolos más allá de lo literal: el significado puede ser múltiple y fluido, no fijo. TheCollector
  3. Asociación libre y automatismo: métodos que potencian procesos creativos no lineales. Arts Help
  4. Sublimación: transformar energías internas en ideas y prácticas artísticas. Wikipedia
  5. Mantener distancia crítica: Freud no es dogma, sino herramienta interpretativa. revistavirtualia.com

La tragedia como dispositivo contemporáneo

La tragedia como dispositivo contemporáneo
La tragedia como dispositivo contemporáneo

La tragedia como dispositivo contemporáneo

Desde su origen en la Grecia antigua, la tragedia ha sido menos un género narrativo que un mecanismo cultural para pensar lo irrepresentable. En Aeschylus, la escena trágica no buscaba consuelo: exponía el conflicto entre ley y deseo, entre violencia heredada y justicia por venir. Esa lógica —la de un conflicto sin resolución limpia— es precisamente la que reaparece con fuerza en el arte contemporáneo.

Esta exposición entiende la tragedia no como tema ilustrativo, sino como dispositivo: una estructura que activa tensiones, convoca al cuerpo del espectador y suspende la promesa de cierre. Aquí, la obra no “cuenta” una tragedia; la hace ocurrir en el espacio, en el tiempo y en la percepción.

Tragedia ≠ representación

Lejos del relato heroico, la tragedia contemporánea opera por presencia. Instalaciones, performances, archivos y acciones mínimas sustituyen la narración por la experiencia: el espectador entra en un campo de fuerzas donde el sentido se demora y el afecto precede a la explicación. En este sentido, la muestra retoma la intuición de Friedrich Nietzsche: lo trágico emerge de la fricción entre forma (lo apolíneo) e intensidad (lo dionisíaco). No hay victoria de uno sobre otro; hay coexistencia tensa.

El coro hoy: colectividad y testigo

Si el coro trágico era la conciencia colectiva, en el arte actual esa función se desplaza hacia el público. La obra convoca al espectador como testigo implicado: su recorrido, su espera, su incomodidad forman parte del acontecimiento. El tiempo se espesa; la obra exige permanencia. Así, la tragedia reaparece como ética de la atención frente a aquello que la cultura prefiere acelerar u ocultar.

Sombra cultural

Las piezas reunidas trabajan con materiales y gestos que apuntan a la sombra social: duelo, violencia estructural, exclusión, memoria negada, colapso ecológico. No ofrecen soluciones ni moralejas. Insisten, en cambio, en el límite: cada decisión implica pérdida; toda comunidad arrastra restos. La tragedia funciona aquí como un método para hacer visible lo irresuelto sin neutralizarlo.

Forma sin anestesia

La curaduría propone un equilibrio deliberado entre rigor formal y carga afectiva. La forma no suaviza el golpe; lo canaliza. Como en la tragedia antigua, el arte contemporáneo encuentra su potencia cuando organiza la intensidad sin convertirla en espectáculo. La belleza, cuando aparece, no redime: sostiene.

Apunte final

Esta muestra afirma que la tragedia persiste porque nombra una verdad incómoda: vivir es habitar conflictos que no se dejan cerrar. El arte contemporáneo no abandona la tragedia; la actualiza como práctica de pensamiento sensible. Aquí, la obra es un umbral: no explica el dolor, pero lo vuelve pensable en común.

José Clemente Orozco

José Clemente Orozco
José Clemente Orozco

José Clemente Orozco: Los muros que gritan verdades incómodas

Cuando la Revolución Mexicana buscaba sus profetas visuales, Orozco pintó sus contradicciones

José Clemente Orozco no fue un celebrador de victorias fáciles ni un propagandista de utopías prometidas. Fue el más oscuro, el más crítico, el más incómodo de los grandes muralistas mexicanos. Mientras sus contemporáneos pintaban héroes monumentales y futuros radiantes, él eligió mostrar la otra cara de la historia: la violencia que corrompe tanto al opresor como al oprimido, el fanatismo que destruye en nombre de la liberación, la guerra que devora a sus propios hijos.

Sus muros no son decorativos. Son gritos de libertad y reflexión social que aún hoy nos obligan a detenernos, a cuestionar, a enfrentar las contradicciones de nuestras propias luchas.

El muralista sin una mano

La biografía de Orozco está marcada por una herida temprana que se volvería metáfora de su arte. A los diecisiete años, un accidente con pólvora le costó la mano izquierda y le dañó severamente la vista. Con una sola mano, ese joven que había renunciado a la carrera de agrónomo para estudiar pintura, tendría que crear algunas de las obras más monumentales del arte mexicano del siglo XX.

Esa mutilación física quizás afinó su mirada hacia el sufrimiento ajeno. Orozco conocía la vulnerabilidad del cuerpo, la fragilidad de la carne. Y eso se respira en cada uno de sus murales: cuerpos que se retuercen, que arden, que luchan contra fuerzas que los sobrepasan.

La Revolución sin romanticismo

A diferencia de Diego Rivera, que pintó la Revolución Mexicana como epopeya necesaria hacia un futuro luminoso, Orozco la pintó como tragedia humana, como carnicería que devora tanto a justos como a injustos. Sus soldaderas no son heroínas idealizadas: son mujeres cansadas, embarazadas, arrastrándose tras ejércitos que las usan y las descartan. Sus revolucionarios pueden ser tanto libertadores como bestias enardecidas por la violencia.

En el Palacio de Gobierno de Guadalajara, su Hidalgo no es un prócer marmóreo sino una figura furiosa, antorcha en mano, más demonio vengador que santo patriota. Es una representación brutal de cómo las revoluciones, justas en su origen, pueden convertirse en hogueras que queman todo a su paso.

La crítica al fanatismo: de todas las banderas

Lo más radical de Orozco fue su negativa a arrodillarse ante ninguna ideología. En el Hospicio Cabañas de Guadalajara —considerada su obra maestra—, la cúpula muestra El Hombre en Llamas, una figura humana que arde mientras asciende: símbolo perfecto de la transformación a través del sufrimiento, pero también de la autodestrucción inherente a todo fanatismo.

En los muros laterales pintó una crítica devastadora tanto al militarismo como a la religión dogmática, tanto al capitalismo como al comunismo autoritario. Mostró conquistadores españoles y sus atrocidades, pero también la brutalidad de los sacrificios prehispánicos. Para Orozco, ninguna civilización tenía las manos limpias, ninguna ideología poseía el monopolio de la verdad.

Esta postura le ganó enemigos en todos los bandos. Los conservadores lo consideraban subversivo, los comunistas lo tachaban de reaccionario. Pero esa independencia feroz era precisamente su mayor fortaleza moral.

Los murales de Estados Unidos: el espejo incómodo

Entre 1927 y 1934, Orozco trabajó en Estados Unidos, donde creó algunos de sus murales más poderosos. En el Dartmouth College pintó La épica de la civilización americana, un ciclo monumental que confrontaba a la audiencia estadounidense con la violencia fundacional de su propia nación: la conquista, la esclavitud, el exterminio de los pueblos originarios.

Pero también pintó la industrialización moderna como una nueva forma de opresión, con máquinas que devoran a los trabajadores. En la New School for Social Research de Nueva York, sus murales sobre la hermandad universal y la lucha obrera mantienen una tensión entre esperanza y desesperación que nunca se resuelve en propaganda fácil.

La técnica expresionista al servicio de la verdad

Orozco desarrolló un estilo único entre los muralistas: menos narrativo y decorativo que Rivera, menos simbólico y místico que Siqueiros. Su paleta —dominada por rojos, negros, grises y ocres— evocaba sangre, ceniza, tierra y fuego. Sus figuras, angulosas y expresionistas, parecían siempre al borde del colapso o la explosión.

No buscaba la belleza clásica sino la verdad expresiva. Sus composiciones, con sus diagonales dramáticas y sus masas humanas que se agolpan o se dispersan, crean una sensación de urgencia, de caos controlado, de energía apenas contenida. Ver un mural de Orozco no es una experiencia contemplativa: es un impacto visual que golpea antes de que la razón pueda procesar el mensaje.

La fuerza expresiva que trasciende el tiempo

Lo que hace que la obra de Orozco siga impactando hoy no es solo su maestría técnica o su ambición monumental. Es su negativa a ofrecer respuestas sencillas a preguntas complejas. En una época de trincheras ideológicas, él se mantuvo en tierra de nadie, disparando verdades incómodas hacia todos los frentes.

Sus murales reflejan la lucha, el sufrimiento y la esperanza del pueblo, pero sin promesas huecas. La esperanza en Orozco nunca es gratuita: es algo que debe arrancarse del dolor, algo que debe conquistarse una y otra vez contra las fuerzas —externas e internas— que nos empujan hacia la barbarie.

Un legado de fuego y ceniza

José Clemente Orozco murió en 1949, con el pincel todavía en su única mano. Dejó tras de sí muros que no permiten la indiferencia. Ante un mural de Orozco, no se puede simplemente pasar de largo. Exigen respuesta, provocan reflexión, incomodan.

En un mundo donde el arte a menudo se refugia en lo decorativo o se reduce a mercancía, los muros de Orozco siguen gritando. Gritan contra la injusticia, contra la opresión, pero también contra la complacencia revolucionaria, contra el dogmatismo de cualquier signo. Gritan que la libertad no es un destino sino una lucha constante, que la dignidad humana debe defenderse en cada generación, que ninguna causa —por justa que sea— justifica la deshumanización.

Sus murales no son documentos históricos inertes. Son preguntas abiertas que cada época debe responder de nuevo. Y esa es la marca del arte verdaderamente revolucionario: no el que ilustra una revolución pasada, sino el que sigue revolucionando la manera en que miramos el presente.

Orozco transformó los muros en conciencia colectiva. Y esa conciencia, incómoda, crítica, implacable, es su regalo más valioso a las generaciones que aún buscan respuestas en las paredes donde él dejó grabadas sus preguntas de fuego.

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