Cuban artist Belkis Ayón’s powerful and distinctive work shines in a captivating exhibition at Modern Art Oxford. Tragically cutting her life short at the age of 32, Ayón left behind a legacy of striking oversized prints executed in stark black and white on simple cardboard. This exhibition offers a glimpse into the singular mythology that drove her art, evoking a sense of both allure and mystery.
Ayón’s encounter with the secretive Abakuá brotherhood, a form of Afro-Cuban freemasonry, through childhood whispers and newspaper stories, fueled her artistic journey. From this rich source, imaginative figures and narratives emerge, inhabiting fantastical, intricate worlds rendered in black, white, and mesmerizing shades of grey.
Forest glades, shadowy caves, and even the depths of the ocean become canvases for her large-scale friezes, where watchful figures with sinuous forms are caught in surreal scenarios. A female figure, draped in fish scales, stares directly at the viewer, cradling a delicate goat on her shoulder. A man with a mist-grey body and white head, crowned with an upright rooster, casts a furtive glance. Chieftains, adorned with leopard spots, preside over initiations that incorporate elements both traditional and strangely unfamiliar: pineapples, Christian halos, palm fronds, and curiously Celtic-like insignia.
At first glance, these works echo the graphic glamour of contemporary art. Parallels might be drawn to the black-on-black silhouettes pierced with white eyes characterizing the works of African American artist Kerry James Marshall. However, Ayón’s medium diverges wildly. Her prints, achieved through the laborious technique of collography, possess the texture and depth of reliefs, with actual impressions running through their surface like scars. This complex process involved constructing collages on cardboard and then inking them for transfer to paper. Ayón, a pioneer of this technique, found it perfectly suited to express her artistic vision.
Ayón worked primarily in the impoverished Cuba of the 1990s, where paint was scarce but cardboard readily available. Her interpretation of Abakuá mythology, with its founding legends featuring snakes and fish and the ritual sacrifice of a woman discovering the fraternity’s secrets, offered a bold feminist perspective in Castro’s patriarchal Cuba.
In the striking "La cena" (The Supper), women replace the masculine figures of Abakuá, defying tradition. Jesus is supplanted by poor doomed Sikán, the woman who revealed their secrets. While the meaning of these works may differ for Cubans and non-Cubans, contemporary elements, such as the crisscrossing straps of labourer’s overalls, subtly weave their way into the scenes.
Ayón’s artistic gifts extend to capturing the minutest expressions through the subtle shaping of eyelids and contours, subtly differentiating male from female figures. Her figures lack hair and other distinguishing features, yet their watchful eyes speak volumes. Occasional splashes of primary color heighten the impact: a scarlet woman shatters a fish above her head, fragments scattering as tears. Daggers transform into snakes, and fish become elegantly closed eyes.
complex print effects, like merman bodies glimpsed through nets and swirling waves, showcase Ayón’s masterful technique. Her work is truly
unique.
Fish, goat, halo, snake – deciphering the intricacies of Abakuá allegories is a monumental task, yet the atmospheric power of Ayón’s later works transcends any need for literal interpretation.
A woman attempts to tear away her own face in a hauntingly self-portrait. Titles shift from myth to introspection. In "My Vernicle or the Deep Wound," a woman holds aloft her own veil, revealing the image of a man in a Colombian hat. Ayón, we learn, had a passionate but melancholic relationship with a Colombian man.
But most compelling of all is "The Sentence" from 1993. Sikán’s wide eyes reflect shock as she learns her fate. A white snake winds its way through the print, and a white hand presents a palm held aloft, marked with a black cross – a chilling symbol of her doom.
Modern Art Oxford, complete with its inviting red cafe and welcoming children’s studio, is a perfect setting for this exhibition.
Across town, the Ashmolean Museum has reinvented itself through innovative exhibitions like Bettina von Zwehl’s "The Flood," an eclectic "wunderkammer" showcasing her unique perspective on the museum’s treasures.
This captivating display includes a miniature theatre doubling as a dollhouse-sized camera obscura; imaginative watercolour landscapes and fantastical hybrid creatures; magnified photographs of tiny shells that transform into planetary expanses; and a magical forest archipelago constructed from miniature mushrooms. Zewhl’s "The Flood" highlights the museum’s most unusual objects. One particularly striking piece is a terrifying iron cradle from 1677, presented by Elias Ashmole himself. Von Zwehl’s work ardently encourages viewers
to reawaken their sense of wonder and curiosity.
Star ratings (out of five):
Belkis Ayón: ★★★★
- Bettina Von Zwehl: ★★★
Interview between Time.news Editor, Anna Carter, and Art Historian, Dr. Carlos Mendoza
Anna Carter (Editor): Welcome, Dr. Mendoza! We’re thrilled to have you here today to discuss the extraordinary work of Belkis Ayón, especially in light of her current exhibition at Modern Art Oxford. Her story and art are both tragic and inspiring. Let’s start with the impact of her early life on her artistic vision. How did Ayón’s childhood experiences shape her relationship with Abakuá mythology?
Dr. Carlos Mendoza (Art Historian): Thank you, Anna! Belkis Ayón’s childhood encounters with the secretive Abakuá brotherhood, through whispered tales and newspaper articles, ignited her creative imagination. This mythology became a canvas for her exploration of identity, gender, and culture. It’s fascinating how childhood stories can inform an artist’s perspective. For Ayón, the Abakuá brotherhood, which is often male-dominated, provided a rich source of inspiration to challenge traditional narratives, particularly in the context of 1990s Cuba.
Anna Carter: That’s a powerful observation. One standout aspect of her work is the technique she employed—collography, especially using cardboard. What can you tell us about why this medium was so significant to her and her artistic expression?
Dr. Carlos Mendoza: Absolutely! Ayón was a pioneer of collography, which involves creating textures and patterns on cardboard before transferring them onto paper. This technique not only allowed her to construct intricate narratives layered with meaning but also worked within the constraints of her environment where traditional materials like paint were scarce. The use of cardboard became a metaphor for resilience, a direct reflection of her life in Cuba’s economic difficulties. The depth and texture she achieved parallel the complexities of the themes she explored.
Anna Carter: It’s fascinating to see how an artist turns limitations into unique artistic expressions. Speaking of her themes, Ayón often incorporated feminist perspectives into her interpretations of Abakuá mythology. Can you elaborate on how her work challenges gender roles in this context?
Dr. Carlos Mendoza: Certainly! In works like “La cena” (The Supper), Ayón deliberately flips the script by placing women at the center of Abakuá narratives, traditionally dominated by men. By substituting figures like Jesus with the woman Sikán, who represents secrecy and revelation, she critiques the patriarchal structures present in both the mythology and Cuban society as a whole. This pivot showcases her boldness in asserting women’s roles and offers a much-needed feminist critique that challenges historical representations.
Anna Carter: Indeed, her artwork merges mythology with contemporary issues affecting women today. The symbolism in her pieces, like the figures draped in fish scales or the striking imagery of a woman shattering a fish, is visually mesmerizing. How do you think these symbols contribute to the overall impact of her work?
Dr. Carlos Mendoza: The symbols in Ayón’s work are deeply layered. Fish, goats, and even serpents are not just motifs; they embody cultural allegories and complex narratives. For instance, her female figures, often draped in fish scales, symbolize transformation and the struggle for identity within both Cuban society and her own artistic journey. The recurring imagery invites viewers to explore these relationships beyond their literal interpretations, evoking emotional responses that speak to universal themes of loss, struggle, and resilience.
Anna Carter: It’s amazing how Ayón’s art transcends cultural borders while remaining deeply rooted in specific cultural contexts. as we reflect on her legacy, especially considering her untimely death at 32, what do you think is her most enduring impact on the art world?
Dr. Carlos Mendoza: Belkis Ayón’s legacy lies in her ability to intertwine personal and collective mythologies, offering a voice to marginalized stories in both Cuban and global contexts. Her innovative techniques and fearless exploration of identity have resonated with many contemporary artists. In an art world often dominated by men and Eurocentric narratives, Ayón reminds us of the power of women’s voices and the richness of Afro-Cuban culture. Her work stands as a profound reminder that art can challenge, provoke, and inspire—for generations to come.
Anna Carter: Thank you, Dr. Mendoza, for shedding light on Belkis Ayón’s remarkable contributions to art. Her legacy continues to inspire and captivate, and we are grateful for your insights!
Dr. Carlos Mendoza: Thank you, Anna! It’s essential that we continue to celebrate artists like Ayón who dare to push boundaries and challenge societal norms through their work.