PART ONE.
Presented at Haven Art Gallery (factory extension), South Bronx, New York City. June-July 2006.


“Odd Rhetoric Ode” is a new link within the cycle of works that I began in 1989, with “Basic Foundations of the Theory of the Parapsychology of Art”. In this present chapter, the background reference is the rhetoric universe (of Socialist’s Cuban flavor), and the experience develops from a supposed iconic universe adjudged to Super A.
Around the years 1992 to 1994, while I was still living in Cuba, I began to collect headlines from “Gramma“, the Cuban national newspaper. Needless to say how heavily charged this paper is of political rhetoric, made to suit the taste of our national “Emperor”. Collecting enough of the newspaper wasn’t easy, but eventually I had enough material with which I could start putting together the series of pieces that make up “Graphic Testimony”, a series of one hundred and fifty collages (9 x 13 inches) arranged in seven groups.
The pieces that make up this project grew around the Graphic Testimony and, although I want to consider it as the core of this project, I do not want to limit the extend of it to its unique reference. So other images, phrases, and references have been assimilated into the Super A graphical-rhetoric theatrical play. For instance, a piece like “Non Plus Ultra”, is a version of a stein-glass reproduction that I saw once on a magazine, in an article about the Nazi’s aesthetic. Or, a piece like “Bunker of Thoughts” is a theatrical version of Fidel Castro’s “Bastion de Pensamientos” (or it‘s cousin “Trinchera de Ideas“). Other references come from the philosophical and the esoteric dominium. At the end, my hope is to create a kind of Vanity Fair stew, in which all the rhetorical ingredients will mix up, making Super A’s oddly ode something worth to experience.






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