The work of James Bonachea (Cuba, 1977) has been characterized as a constant invitation to re-signify both the beliefs rooted in the cultural imagination, as easily as the objects of everyday use. This practice has led him to the intervention of public and private spaces involving both his own body, as well as organic materials and other elements in settings and surfaces, apparently contradictory, within the formal solutions of visual and pictorial discourses. From performance to drawing, his curiosity for rereading the remote past has directed him to establish dialogues between the historical vision and the current condition of reality, resulting in discursive forms that complement an anachronistic universe of resignifications.
