Victor Huerta Batista  (Cuban, 1972) 

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Artworks for sale (13)
In Art Galleries (13)
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Victor Huerta Batista, Islas II

 

Victor Huerta Batista
Islas II
2006

MLA Gallery
Victor Huerta Batista, Despues de la conquista

 

Victor Huerta Batista
Despues de la conquista
2005

MLA Gallery
Victor Huerta Batista, arbol y elicoptero

 

Victor Huerta Batista
arbol y elicoptero
2006

MLA Gallery
Victor Huerta Batista, La nina

 

Victor Huerta Batista
La nina
2007

MLA Gallery
Victor Huerta Batista, Viajar no es el problema XI

 

Victor Huerta Batista
Viajar no es el problema XI
2005

MLA Gallery
Victor Huerta Batista, La musas del tiempo

 

Victor Huerta Batista
La musas del tiempo
2006

MLA Gallery
Victor Huerta Batista, Series pargue de diversiones II

 

Victor Huerta Batista
Series pargue de diversiones II
2007

MLA Gallery
Victor Huerta Batista, La musas del tiempo III

 

Victor Huerta Batista
La musas del tiempo III
2005

MLA Gallery
Victor Huerta Batista, Series pargue de diversiones III

 

Victor Huerta Batista
Series pargue de diversiones III
2007

MLA Gallery

1972   Born in Camaguey, Cuba
1992   Graduated from Escuela Profesional de Arte
  Permanent collections:
University of Arizona Museum of Art, Tucson, Arizona, Tucson Museum of Art, Tucson, Arizona, Estremadura Museum of Art, Estremadura, Spain
  Extracted from an article in Tucson Weekly, on August 23, 2007, written by Margaret Regan:
  In "Caerse de Habana" (The Fall of Havana), 2002, three old men are struggling to hold up a figure above their bald heads. They're decrepit caryatids long past their prime, but then so is the strongman they're trying to support. He's a fake, his body made of wood, pegged together at the joints, and he's collapsing. But Huerta's vision is too wild, too erotic--and too much fun--to be reined in by a single interpretation tied to contemporary politics. Elephant-headed old folks dance on a gargantuan pink birthday cake in "Feliz Cumpleaños" (Happy Birthday), 2003, just beyond a giant snake slithering in the hay around it. Above, the heads of four angry gods blow the small brushfire atop the cake into a conflagration. In other works, a tiny family sits on the precipice of a stove, just past a pot of boiling ship. A sexy woman with a cat's head writhes all naked on the shoulders of a man with a dog's head. Workmen on scaffolding lazily touch up the paint job on the face of a giant man.
  Huerta practices what the Cubans call "lo real maravilloso" (the marvelous real), a counterpart to the magical realism in Latin-American literature. He counterbalances the realistic and the fantastic, placing recognizable figures, landscapes and buildings in impossible settings. He plays with imbalances of scale--see that mini-family on the stovetop--and "irrational space," juxtaposing sailing teacups with sailing ships.
  Beautifully rendered in acrylics on canvas, his paintings are meant to look like oils, says Lisa Fischman, University Of Arizona Museum of Art curator. Even to the point that he's faked the sheen of oil glaze on top. He paints in a limited Old World palette, in browns, golds, yellows and ambers, with jolts of pale blue or red here and there. Some passages are thinly stained with color, while others have deft layerings of thick paint. Occasionally, Huerta allows paint to drip vertically all across the canvas, like rain, or tears.
  The landscape of Cuba, often a backdrop to the fantastic goings-on, emerges in soft, blurry rows of palm trees and glints of light on rooftops. The sea greens of the Straits of Florida shimmer, and sunset skies turn chalky yellow.
  The Old Masters can take credit for some of Huerta's wildness. His crazy machines have their roots in Leonardo da Vinci's drawings of flying contraptions, moving dykes, pulleys and cranks. Huerta's fantastic creatures, half-human, half-animal, and his apocalyptic visions owe a debt to Hieronymus Bosch. And his imagination, Fischman says, follows the free flights of Francisco Goya.
  Which is how Huerta's works came to be displayed at the UAMA. Fischman and assistant curator Susannah Maurer were looking for a contemporary artist to pair with the second installment of the museum's four-part Goya etchings series. Last spring, works by Tucson rodeo photographer Louise Serpa went up next door to Goya's La Tauromaquia suite of bullfighting prints. This second Goya show, now on view, exhibits 24 etchings from Los Disparates, which the museum translates as "mad and absurd ideas", along with 20 paintings by Victor Huerta Batista. Filled with grotesque monsters, dreamlike phantoms and humans with bats' wings, the nightmare Disparates images are bathed in darkness. Goya worked on these pictures at the end of his life, and scholars have debated whether they represent his fears of death, or his horror at the catastrophic wars of his lifetime, or something else altogether. In any case, the curators thought, rightly, that Huerta's unruly work was a good match. They found his work via the MLA Gallery in Los Angeles, which handles his work and acted as intermediary. Huerta has had some success in Cuba, but this is the first time his extravagant visions have won a museum show in the United States.
  "His imagination is unloosed," Fischman says. "He's an artist willing to see where that goes. That's a precedent that Goya set."
  Correspondence: In Relation to Goya
paintings by Victor Huerta Batista
Goya's Mastery in Prints: Los Disparates
University of Arizona Museum of Art, through Sept. 30th, 2007
  excerpt courtesy of MLA Gallery
2007   University of Arizona Museum of Art "Correspondence - In relation to Goya" (solo)
2007   MLA Gallery, Los Angeles, California. "Semi-annual Brewery Artwalk"
2006   MLA Gallery, Los Angeles, California. "Semi-annual Brewery Artwalk"
2005   MLA Gallery, Los Angeles, CA
2004   MLA Gallery, Los Angeles, CA
2002   Salon XVIII Digelio Ponce de Leon
2001   Salon Guernica Nuevitas
1999   Principe 485, Artes Plasticas Camagueyana
1999   8vo. Salon Prov.A.Plasticas Fidelio Ponce de Leon
1999   V Bienal de Dibujo-Galeria Julian Morales. Abril
1999   Temporadas de Reencarnaciones (Casa Humbolt, Ciudad de la Habana) (solo)
1998   Salon Prov. Dibujo, Concertino '90, Centro Prov.de A.Plasticas, Camaguey, Noviembre
1998   XVI Salon Prov. Fidelio Ponce de Leon, Centro Prov.de A.Plasticas, Camaguey, Sept.
1998   Proyecto Malecon, Estremadura, Spain
1996   III Salon de Ceramica Camaguey, Dic.
1996   VI Salon de la Ciudad (Galeria Alejo Carpentier), Camaguey, Feb.
1996   Babel '96, Romerias de Mayo, Holguin, Exposicion de Ceramica (solo)
1995   II Salon Prov. de Ceramica Camaguey, Dic., Centro Prov. de A. Plasticas
1995   Exposicion Una Ventana, Galeria Alejo Carpentier, Oct.
1995   XI Salon Prov. Fidelio Ponce de Leo, Centro Prov. de A. Plasticas, Camaguey, Sept.
1995   III Bienal Provincial de Dibujo Centro Prov. de Artes Plasticas, Camaguey, Abril
1995   V Salon de la Ciudad Galeria Alejo Carpentier, Camaguey, Febrero