Destellos

Eduardo Ponjuán is one of the essential artists in the historiography of Cuban art. His work, which emerged at the height of the 1980s, has the ability to always go a little deeper into the precipice of certain truths, to surpass itself as a discursive spring, to shock, to make us shut up and watch him compulsively. The key to this, somehow whimsical and tremendous, seems to lie in his unlimited talent to invoke that which can be, or is, essential to man. That is the origin of his most fertile and polysemic silences.