Analvis Somoza Jimenez
Analvis Somoza Jimenez
Analvis Somoza Jiménez (Analvis) was born on 23 February 1965, in Havana, Cuba. She graduated from the prestigious San Alejandro Academy, specializing in Plastic Arts, in 1994. Her teachers were the renowned Cuban visual artists José Miguel Pérez, Aguedo Alonso, Pedro Pérez Pulido, among others.
Her interests in the plastic arts began during her childhood, when she enrolled in the Es-cuela Elemental de Arte
Elementary School of Art José A. Páez.
She also has knowledge in the area of restoration and conservation of pictorial works, working in the historical museum of the City of Havana. In 1994, as a collaborator of the Victor Manuel Gallery, the Wifredo Lam Centre and the Varadero Centre of Hotel Com-plexes and Art Galleries, she began her immersion in the art market, successfully commer-cializing her works. She has ventured into handicraft work, especially in the technique of Parch-Work, including other multiple possibilities of manual work such as ceramics and engraving. This has borne fruit in terms of various recognitions to her pieces, in events such as: FIART 91 PARCH - WORK, as well as the one obtained in the Third International Fair Colloquium on Cuban Crafts and offers seminars, courses and classes on handicrafts and fine arts.
She has important exhibitions inside and outside her native island, among which we can mention: Imágenes en Trayectoria (17 engravings), in the centre of the graphic art of Ha-vana, in the Amelia Peláez gallery, in the Amelia Peláez Gallery, in 2013. This exhibition was on the occasion of twenty years of artistic work.
Other relevant exhibitions have been in Spain at Casa del Arte, Galicia. Also in countries such as Germany, Mexico and the United States, where there are private collections of her work.
She is an artist with important influences in her visual work linked to artistic production, tendencies and styles that vary between landscape, especially of urban type to the work of the anthropomorphic figure, her work tends to conform faces and elements of the Cu-ban identity within expressionist, pop and pop-art styles. She retakes in her contempora-neity the use of the strokes and the distortions of the figures, the interpretation of Afro-Cuban-Hispanic legends in order to create her figuration, which is her icon called El Dandy, placing and dislocating him in ordinary life as a process of her own creation".
She also carried out an active social activity in her gallery-studio, Lahora, which was loca-ted in her home. It was the venue for gatherings in which not only the themes and con-cerns about the problems of art, but also the exhibition of the work of others and the processes of community criticism were addressed in extensive conversations. All this in the very understanding that legitimates her phrase "As long as there is life, there is art".