GEANDY PAVÓN

“I am an idolater who suspects images. Someone who loves the power of revelation and completeness that images contain, but who knows that this power is activated only at the threshold of destruction.

To glimpse the image revealed in its complete state supposes, in my case, the assumption of a less favorable definition of the word image and of the word completeness: [that is,] to identify the image with the surface of the thing and not with the thing itself; to understand that the completeness is only an instant that escapes decline. An image is truly effective when it is in the moment just before it ceases to exist.

I do not pretend to reveal the meaning of my images. It interests me more to cover them and to uncover them. More than the face the mask interests me; more than the idea, the image. In this is rooted mi idolatrous passion; but also interests me, and in this consists my iconoclastic side, to reveal the hidden side of the masks, the truth that lives in the images.”

Geandy Pavón is a multi-disciplinary artist who explores the ills that plague global society. His observations into totalitarianism and displays of power are expressed through paint, photography and video. An example of the provocative work that brought his name to light is Nemesis (2010-2012) – a part of a body of work that entails guerrilla projections of photographs of renowned dissidents and political prisoners on the facades of their corresponding embassies and consulates.

His work has gained praise and positive critical reviews from esteemed figures such as Holland Cotter, of The New York Times.

Pavón’s work has been featured in solo and group exhibitions such as Caribbean: Crossroads of the World, at The Studio Museum of Harlem and PAMM; The X Files Bienal at El Museo del Barrio; the Annenberg Space for Photography as part of Pacific Time LA/LA; and at the USF Contemporary Museum of Art in Tampa, Florida. His photo series The Cuban-Americans was recently