Discarded materials are a common source of inspiration for many Caribbean artists and art collectives. The recent sculptural works of Daniel Lind-Ramos—assemblages of industrial and organic elements—are exemplary of this. The artist works to commemorate the presence and memory of the Black Atlantic Diaspora of the artist’s hometown of Loíza, Puerto Rico. Works like Centinelas (2013), a totemic installation made out of coconut palm trees and metalware, propose a retrieval of colonized peoples’ historical, political, and cultural narratives.
Also an established painter, Lind-Ramos has long investigated themes related to the carnivalesque, racial politics, and the diasporic experience. His early works, with altar-like formats and the use of mixed media, spoke to the artist’s cultural and spiritual hybridity and foreshadowed his later sculptural practice.
Lind-Ramos has been recognized for his work in France, the United States, and beyond. He won the Piña de oro at the 2016 Gran Bienal Tropical in Piñones, Puerto Rico; participated in the 2010 World Festival of Black Culture and Arts in Dakar; and was a resident of the Joan Mitchell Center of New Orleans in 2018. Notably, Lind-Ramos’s installation and sculptural pieces have been showcased with positive critical reception in this year’s Whitney Biennial.