He is a designer at the handmade books editorial Vigia Editions. Matanzas, Cuba, with works at the Museum of Modern Art (MoMA) in New York
He is a member of the Cuban Association of Social Communicators.
He is a Professor at the Superior Institute of the Arts (ISA) in the Specialty of Scenery-Designing.
2011-2016 Superior Institute of the Arts (ISA). Havana City. Cuba.
2003-2007 Plastic Arts Academy “Roberto DiagoQuerol”. Matanzas, Cuba
2017 “Blanca vs. Elena”. “El Rinoceronte” (The Rhino) Gallery. ISA. Havana City, Cuba.
2016 “The Sacred Horizon of appearances”. Juanito Hernandez Gallery. Educational Chanel. 23 and P, Vedado, Havana City, Cuba.
2016 “High Tension”. Pedro Esquerre Galery. Matanzas Cuba.
2016 “Water marks”. Amadores de Santander. Havana City. Cuba.
2015 “Gas-Oil” Havana Club Rum Museum, Havana City. Cuba.
2014 “Creative Pastry”. San Juana Gallery. Vigia Editions. Matanzas, Cuba.
2013 “Seasonal Music” Pedro Esquerre Gallery, Matanzas. Cuba.
2010 “They are no longer many those that look to the sky” 9th International Workshop of Puppetry, Papalote Theater, Matanzas, Cuba.
2018 Beirut Art Fair, Lebanon
2017 “Post-it 4”. Contemporary Cuban Art.
2017 “Imaginaries from the Art Book”. House of the Book, Calle Del Cristo, Old San Juan. Puerto Rico.
2016 “I Like It”. Oswaldo Guayasamin Museum. Havana City. Cuba.
2016 “Hara-kiri”. Plaza´s Art Center. 7th and 8th. Havana City. Cuba
2015 “Don’t fear the shocking colors”. Morro-Cabaña Complex. Minas Gallery. XII Biennial of Havana. Cuba.
2015 “The Last hiding-place”. Studio – Workshop. ISA (Theatrical Art Faculty). 2nd part. Collateral to the XII Biennial of Havana. Cuba.
2015 “Freya´s paradise”. XII Biennial of Havana. Miramar 601. Havana City. Cuba.
2015 “My book, my house”. Artist´s Book. Art Museum of Matanzas.
2015 “The laze’s corner” Spanish American Center. Havana City. Cuba.
2014 “Fresh Blood”. 34th Space Gallery, Varadero, Matanzas Cuba
2014 XXII Roberto Diago Querol Salon. Matanzas. Cuba.
2012 “Weightlifting Volume II”. XI Biennial of Havana. ISA´s gymnasium. Havana City. Cuba
2012 “Occupation 13th”. XIV Havana TheaterFestival. Theatrical Art Faculty EISINOR, ISA, Havana City, Cuba.
2011 “Glamour Runaways”. Tropical Ballad. Showroom at the Faculty of Plastic Arts, ISA. Havana City, Cuba.
2009 “Uruk´s weapons”. Cede Vivarta Theater. Havana City. Cuba.
USA, Germany, Switzerland, Mexico, Poland, Canada, Syria.
2017 “The Poet” by Hugo Odelin Santana. Vigia Editions, Matanzas Cuba.
2016 “Radar” by Yeilen Delgado. Vigia Editions, Matanzas Cuba.
2016 “The Cactus flower” by Frank David Valdes Hernandez. Vigia Editions, Matanzas Cuba.
2016 “Cristopher Columbus and other senseless” by Pedro Monge. Vigia Editions, Matanzas Cuba.
2016 “A garden that wrote love letters” by Luis Yussef. Vigia Editions, Matanzas Cuba.
2015 “Lydia Cabrera in her sacred lagoon” by Natalia Bolivar Arostegui y Natalia Bolivar del Rio. Vigia Editions, Matanzas Cuba.
2015 “All that is language in silence” by Ledo Ivo, Vigia Editions, Matanzas Cuba.
2013 “That of the stain doesn’t go to paradise” by Jose Milian, Vigia Editions, Matanzas Cuba.
2012 “Nokan and the corn and The Ayapa drum” by Dania Rodriguez, Vigia Editions, Matanzas Cuba.
2011 “First Day chronicles” by Ercilio Vento Canosa, Vigia Editions, Matanzas Cuba.
2011 “Certain names of love … and other desperate verses” by Lidia Meriño, Matanzas Editions, Matanzas.
2011 “Histories of the wise old toad” by Magaly Sanchez Ochoa, Matanzas Editions, Matanzas, Cuba.
2011 “Postcard of fish” by Rey Montalvo. Vigia Editions, Matanzas Cuba.
2010 “Mr. Lopez and other interventions” by Rigoberto Rodriguez Entenza, Vigia Editions, Matanzas Cuba.
2010 “Aromas of dew” by Miriam Rodriguez, Matanzas Editions, Matanzas, Cuba.
2009 “The weight of life” by Ariyawansa Ranaweera, Vigia Editions, Matanzas Cuba.
2009 “The Republic of the shoe” by Alberto Copa, Matanzas Editions, Matanzas, Cuba.
2008 “Baseball” by Ulises Rodriguez Febles, Vigia Editions, Matanzas Cuba.
2008 “Jonas again” by Felix Miguel Garcia Perez, Vigia Editions, Matanzas Cuba.
2007 “To leave toward new lands”. Anthology of classics of the universal poetry, Vigia Editions, Matanzas Cuba.
Critical analysis of his ouevre.
This exhibition confirms the idea of Cuban art spectrum thematic. The causes that rises one and one again in the irresolution of the conflict that it increase, permanent en the contemporary problems.
On the other hand his way of makes and inserts with a different visual suggestion is the Frank David Valdés ´s painting. Clear, elegant and screamer; their works take the best of the conceptual means and thought of its visual scandal points to other behaviors that point out a interested vocation since the object more that de same painting. The color irrupts and models the two-dimensional planes with exuberant occasion toward the speech to the artist. This work is strong, lovely, egocentric, modern and introspective. It is a playful introspection, full of Cuban popular speech, vital cynicism and irreverent postures. As the creator says: “Everybody knows what to do, betting the money we have in the wallet with a just proposed to feel that it is right. We are consequence with our behavior y gift to the world a thought impossible to forget.”
There is unworried and living speech in all senses, which take other ways to do in his work, where the collage technique is the way to establish spiritual connections with objects and interested colors that remaking functions to the artistic object with an empty function it points to an existential synergy with the same instant that lapse. His work remember to the Ezequiel`s works, Rimbaud signs with strong emphasis Bukowski´ oeuvres. It is all a patron where the function work likes creative form, a way of representation.
Sincerely, I don’t keep my hand on fire; I can affirm that there is concrete research of the representation. All representation is fancied to a silojism, sometimes existential, sometimes palpable, in its urgent materiality. I find their chore more to flow random of images that are established as the poems dada’s.
Of any way, the esthetics answers doing like visual contraction. I think in his work there is a physic, tactile sensorial forms.
There is a strong volunteer to leave toward the esthetic place. Only presences keep it and the same level. In address, works in favor of an impermanence present hyper singled by their material density.
Besides the plane color, strident for moments, very on and clear; they highlight an entire range of emphatic appropriations of the urban scale, of the graph of the coarse expressions and of the graffiti, a blur of root expressionist. There are an entire arsenal that marries the current visuality, in a voracity that doesn’t distinguish among patterns and myths that they come is the same art, the theater, the cinema and the life that it lapses. It is one in the ways in that you confirm the pseudo feature that blur the precedent, dilutes it in an imminent insistence, and it is established to the present from a limbo with expediencies aesthetic and big sips of dose vitality
In Sightings and Cyclic Engagements, Stationary Wind Tests. The visual arts in Matanzas after the crisis, by Helga Montalván.
In the creation of this artist, very versatile by the way (he realizes photography, painting, collage…) we find diverse and referral ways to do of the greats teachers of de Cuban and universal art. In their drawing of different size, we find a thought on cardboard and Kraft paper, a strong current neo-expressionism running through soul, since Antonia Eiriz until Roberto Fabelo´ surrealist, strong and sensual esthetic. Their breasts, of strident colors, answers to a lovely lyrist what to do to the spectator feels that something happen inside of the works; sometime we see representations of his smile, which we force to change our feelings. The employ the palette knife technique, he has allowed to create in their canvas excellent mixtures which given tri- dimension sensation and where the object showed to take a live. In each one of their paintings we can establish very next readings to the context in the we move today in day, their plastic language – that goes from the complacency until the most critical academic – it brings near us to a period of changes that our society lives.
Daniel G. Alonso