Visual artist who lives and works in Havana, Cuba. Member of the Cuban Writers and Artists Union (UNEAC) and President of the Photography Section. Between 1982 and 1994 studied fine arts at San Alejandro Art School, design at Higher Institute of Industrial Design and Graphic Journalism. Prizes obtained: Casa de las Americas, 1994; Tina Modotti, 1995 (Press); National Prize for Curatorship, 2005 and ¨Lorenzo Il Magnifico¨, First Prize in Photography at the Florence Biennale 2017. My work has been reproduced in different books, catalogues and magazines: "The Light in Cuban Eyes"; "Our mothers"; "Artworks in the 90's reflections: The Sensationalism of the Art from Cuba" They also belong to public and private collections as: Casa de las Americas, Havana, Americas Museum in Denver, The Brevard Museum of Art, Plonsker Family collection, National Museum of Philippines, Jenkins Johnson Gallery in San Francisco and NY, Florida University Museum (FIU) [PDF]
Lissette's photos are peculiar, beautiful in their peculiarity. In her pictures you can notice the surrounding environment though it has not been photographed and thus a gesture is sensed, an intention which is not naive or explicitly "objective", but rather breaks the spell of the resounding analogy stemming from it, cheating the haste of the spectator. She does not bring forth presence - does not represent, if presenting again- conventionally speaking- but is always proposing, not even a readymade but rather a remake; thus, there's a con or two in her photos. Already given in her textural contrasts, (scarcity/spotless), lights and shadows (all photography is eminently baroque in this sense), such as in the objects she poses making them coexist in the rhetoric of a simile, with worn out people, perhaps physically and morally. A photo by Lissette is a double portrait or a tautology, a redundancy within the image itself. The document fades out in the photo because it evokes. And in that moment of disappearance, almost imperceptible, we are captivated. A photography which lets itself be half-psychoanalyzed like all good photos.
The observation and reconnaissance of the physical spaces or of the traces created by humans in their daily behavior influence in my artwork. Through photographed objects and spaces I depict the richness of details in a wide scope of feelings, delighted in textures and matter, which avail me with an undeniable impact with those pieces at a formal level. There comes a moment when my work begins to abandon the narrative to step into that ground where a sensitive poetry prevails. I am concerned with the documentation of all the fragments comprising the life that inhabits it and I highlight them as expressive resources, accurate dimensions of the use and the human behavior.
or leave me a note: