Ibrahim Miranda is a young Cuban artist who has gained international attention for his prints and paintings. A native of Pinar del Rio, he attended the Instituto Superior de Arte in Havana; shortly after graduation he began to exhibit in Cuba, Mexico, Argentina, Spain and the United States.
Miranda frequently bases his work on maps of Cuba, emphasizing qualities of water and isolation and suggesting states of metamorphosis and change. The poetry and song of Cuba provide literary and philosophical ideas, deepening the meaning and impact of his prints and paintings.
The maps of an Atlas of Cuba have served Ibrahim Miranda as the base for his map series for over 15 years. The initial process is simple – Miranda attaches together six pages taken from an Atlas to form a large scroll that acts as the canvas for his artistic contingency. Through this cathartic exercise the artist has, over the years, come to print necessary reminiscences, ghostly apparitions; sometimes as quick sketches, other times as fully realized conceptual works. The scrolls/maps, it might be said, are the result of the persistence of a memory that looks forward by drawing from the past.
This difficulty of history, which the artist documents at times automatically and at times consciously, is more often than not reworked over several months – similar in many ways to the self-inflicted and onerous task of the historian. The difference being that whereas the historian can erase or toss out his unsatisfactory work, Miranda’s multiple layers of images (and meaning) both negate and recognize themselves as communication.