The work of José Manuel Mesías deliberately renounces the notions of sacredness and premeditation that usually accompany creative artifice. His searches emerge, on the contrary, from the fragmented and casual, from the residue as an alternative memory, as the primary habitat of all possible truths. Mesías, who once stumbled upon a random object and recognized himself in it, understands the world as a watering hole of the inconsequential and minimal, of the random. That is what it is all about, he thinks, and then paints the landscape of solitude and rain with unlikely greens on the edge of a stone.

His work, which already has more than a decade of experience, has been shown in personal projects such as Verses and Theorems (The apartment at Lubov Gallery, Condo Complex, New York, USA, 2019); Time room, from Index of Images (XIII Havana Biennial, Centro de Desarrollo de Las Artes Visuales, Havana, Cuba, 2019); The straight line is not the shortest (Azkuna Zentroa, Bilbao, 2018), Index of images (Factoría Habana, Havana, Havana, 2017) and About absolute truth (Mindy Solomon Gallery, Miami, 2016). He has also participated in group exhibitions of tremendous relevance, among the most prominent are: La Breche (Galleria Continua, Paris, France, 2021); Circular Viewpoint (Galleria Continua, Havana, Cuba, 2020); Going Away Closer: Japan-Cuba Contemporary Art Exhibition (Spiral Cultural Center, Tokyo, 2018), Cuba my love (Galleria Continua, Les Moulins, 2017), The usefulness of history (Factoría Habana, Havana, 2014) and Cuban Video (The Museum of Contemporary Art (MoCA), Los Angeles, 2014).

He has been awarded Residents Art Dubai, United Arab Emirates in 2019; Akita Art Institute, Japan in 2018 and Anphytrion Residency Program (Azkuna ZentroaArtista X Artista) Bilbao, Spain in 2017, among others.