Juan Francisco Elso was a Cuban artist known for his exploration of identity, spirituality, and cultural heritage. Born in Havana in 1956, he was a key figure in the Volumen Uno movement of the 1980s, alongside artists such as José Bedia, Ana Mendieta, and Leandro Soto. This series of exhibitions reshaped contemporary Cuban art and helped establish the networks that would culminate in the first Havana Biennale.
Elso’s work draws from indigenous traditions, Afro-Cuban religious practices, and postcolonial themes, making it a fitting complement to the conversations present in the Watch Hill Collection. His sculptures often incorporate natural materials such as wood and earth, emphasizing connections to pre-Columbian aesthetics and spiritual beliefs.
In Sopera o Batea de Orula (1982), for instance, Elso references Orula, the Yoruba deity of wisdom and divination, juxtaposing the figure with the ceramic of a ceremonial urn. The piece plays with the idea that time ultimately consumes all.
Similarly, Black Angel (1972) addresses the collective suffering of the African diaspora and was created during the period of apartheid in South Africa. On the back of the canvas, Elso inscribed a powerful statement, which roughly translates to:
"If brutality has not disappeared, it has at least been perfected. The blood, I don't know by what chemical reaction of the remarkable sadist Pieter Botha, can turn into tears by dint of a special catalyst."
The Watch Hill Collection is proud to preserve and promotes Elso’s legacy, highlighting his role in shaping discussions on decolonization and identity.
The Watch Hill Collection continues to emphasize Elso’s significance, reinforcing his influence within Afro-Cuban and Latin American art.
