YAMILYS BRITO A VERY PERSONAL STAMP
The referential sources and the spirit of a work with a meaningful contemporaneity—that of Yamilys Brito (Havana, 1972)—are to be found in the past. Perhaps this vocation by the artist of paying attention to the splendid history of Cuban engraving shaped, in the course of time, the identity of her poetics of full Cuban lore.
With her personal and polished language, Yamilys has contributed to the reanimation of engraving as an expression in the visual arts panorama in Cuba.
In foundational works of her language, the spirit of old engravings bearing witness of life in the Island in colonial times is revealed to us. Here it is worth to highlight Yamilys Brito’s original operation in her proposal. If Garneray, Mialhe or Laplante “photographed” Cuban scenes in the 19th century, Yamilys’s look, attentive and loaded with other meanings and intentions in her relationship with reality, translates streets or names of streets in Havana in a speech enunciating cardinal topics in our society and their contemporaneity: a penetrating discourse loaded with associations and meanings, with places and names of our environment as motives or pretexts to transcend and conform a social picture seen from a critical view.
Her graduation thesis in the Higher Art Institute (ISA), made at the Wifredo Lam Contemporary Art Center (1996), had as its title Al final de la calle (At the End of the Street). The six groups of pieces exhibited were installations in which Yamilys already rehearsed her personal exercise in engraving suggesting comments based on the interpretations of the street names (the titles of the works) animating the composition. So, in Cuatro Caminos (Four Paths, 1995), with four engravings, each of the directions was marked—in the pieces—by the tracks of car tires which, extended on the wall, simulated infinite routes. In this case, it was an incursion into existential topics, showing four different options of assuming life: alcoholism as evasion, isolation, economic hope or despair, and surrendering to the influences of decadence and death.