Born in Havana, Cuba, immigrated to the United States in June 1960. Her artistic career starts later on painting decorative ceramic tiles for bathrooms and kitchens. This becomes her freelance part time work for fifteen years.
Desiring further artistic development she enrolls at the Armony Art Center in West Palm Beach. As a student since 1999 she has studied under a number of teachers, portraits artist James Petricig, figurative and landscape with Dennis Aufiery. Extensive Master Artist Workshops with Nelson Shanks, Paul Rahilly, Bill Scott, Steven Assael, Miroslav Antic, Eric Holtzman, and Timothy Hawksworth, James Adams.
In her still lives with sugar cane, she is able to integrate, childhood memories of Cuba, years in the glades and her family history.
"Seeing is different from looking. This subtle difference becomes important in viewing Elodia’s work. At first glance, her work may strike you as realistic, faithfully reproducing objects of everyday life. Looking more closely at the paintings, reveal images and relationships that take on surprising mystical and surrealistic undertones. In these the viewer finds meaning.
In her Painting, Elodia explores her identity in the ‘hyphen,’ that is, as both a Cuban an American. Her art contains references, which are recognizably Cuban, yet she has spent the vast majority of her life elsewhere, mostly in the United States.
Since childhood, however, Elodia was exposed to Cuban art. After having to leave her country behind and rest her roots in the united states, the urgency to explore what it means to be Cuban, to understand what having a ‘sense of place’ means, became more and more acute. She explores identity in her painting using symbols and signs from the language that Cuban artist used in the past to create a national identity: the sugar cane fields, the rural landscape, the guajiro, and the products of the land.
In her hands, these images reach beyond the canvas and become metaphors. They explore not just the physical, but also the psychological, the political, and the mystical. Avocados and mangos and sugar cane are made monumental, larger than life, by her use of the type of tropical light that produces long receding shadows . Strong vibrant colors emphasize an almost surreal contrast. The unexpected juxtaposition of objects emphasizes the poetics of an idea rather than a physical environment.
The sense of loss , of lives interrupted, of the unjust and of the promise of renewal os a new harvest become the true subject matter of these paintings. "
_ Osvaldo Monzon
North Miami, Florida 33181, United States
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