Maria Magdalena Campos-Pons, ‘Untitled #4’, 2012-2017, Giampaolo Abbondio
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Untitled #4, 2012-2017

Ink, watercolor on Stonehenge’s archival paper
51 1/5 × 66 9/10 in
130 × 170 cm
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Location
Milan
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About the work
Exhibition history
Provenance
Medium
Drawing, Collage or other Work on Paper
Maria Magdalena Campos-Pons
Cuban, b. 1959
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Sculptor, installation artist, videographer, and photographer Maria Magdalena Campos-Pons says that she aims to forge “historical narratives that illuminate the spirit of people and places, past and present” through her artwork. She is best known for her large-format Polaroids, such as Constellation (2004), a grid of photographs in which the artist’s body is symbolized by abstract, painterly compositions of dreadlocks, which reference her African roots. Campos-Pons’ Sugar / Bittersweet (2010) installation fashions a microcosmic sugar trade in which columns of raw sugar stand in for sugar cane fields, cast glass forms pierced by African spears reference slaves, and roped Chinese weights allude to post-harvest weighing and Chinese indentured laborers in Cuba. Sugar / Bittersweet, while addressing Cuba’s national history, cultural resilience, and cross-cultural identity, parallels Campos-Pons’ personal story, exiled identity living in Boston, and the Afro-Cuban diaspora.

Maria Magdalena Campos-Pons, ‘Untitled #4’, 2012-2017, Giampaolo Abbondio
Save
Save
View
View in room
Share
Share
About the work
Exhibition history
Provenance
Medium
Drawing, Collage or other Work on Paper
Maria Magdalena Campos-Pons
Cuban, b. 1959
Follow

Sculptor, installation artist, videographer, and photographer Maria Magdalena Campos-Pons says that she aims to forge “historical narratives that illuminate the spirit of people and places, past and present” through her artwork. She is best known for her large-format Polaroids, such as Constellation (2004), a grid of photographs in which the artist’s body is symbolized by abstract, painterly compositions of dreadlocks, which reference her African roots. Campos-Pons’ Sugar / Bittersweet (2010) installation fashions a microcosmic sugar trade in which columns of raw sugar stand in for sugar cane fields, cast glass forms pierced by African spears reference slaves, and roped Chinese weights allude to post-harvest weighing and Chinese indentured laborers in Cuba. Sugar / Bittersweet, while addressing Cuba’s national history, cultural resilience, and cross-cultural identity, parallels Campos-Pons’ personal story, exiled identity living in Boston, and the Afro-Cuban diaspora.

Untitled #4, 2012-2017

Ink, watercolor on Stonehenge’s archival paper
51 1/5 × 66 9/10 in
130 × 170 cm
Contact For Price
Location
Milan
Have a question? Visit our help center.
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Other works from Giampaolo Abbondio
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