Inspired by the literary movement called “hemofiction,” Mexican-American artist Marianela de la Hoz seeks to offer insights into the hidden character of her subjects through visual codes and exaggerated features. Her version of magic realism has been termed “white violence,” because of her use of black humor and fantasy to depict the darker side of humanity. The miniscule scale of the paintings demands close scrutiny, further emphasizing their sometimes subtle distortions and glimpses into a world of childish dreams. Like a spider draws a fly into its web, Marianela de la Hoz seeks to entrap the viewer rationally as well as viscerally.

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Irene Pressner, an emerging artist from Venezuela whose tattoo on encaustic won first place in the annual juried competition at the Museum of Latin American Art, is exhibiting similar tattoo paintings in a Miami contemporary art gallery, ArtSpace Virginia Miller Galleries in Coral Gables. The MoLAA prize winner topped 132 other Latin American artists to win $50,000 and having her art included in the museum’s collection. Using a tattoo needle, Pressner depicts WW II and Korean Conflict tattoos; her monochromatic Rococomics series, such as “Casper” shown above, incorporates comic-strip characters into elaborate floral patterns.

“Bartolomé” by Hugo Crosthwaite, 2004, Graphite and Charcoal on Wood Panel, 8 x 8 feet, Collection of the San Diego Museum of Art. Read more about Hugo Crosthwaite’s Work here.

Cuba’s celebrated 1980s Generation of artists includes some of the most accomplished and best-known Cuban-American painters: José Bedia, Tomás Sanchez and Humberto Castro. Drawing on his Cuban roots, Castro’s work often uses classical mythology as a parallel to the repressive regime in his homeland. Castro’s second solo show at ArtSpace/Virginia Miller Galleries will be in October 2008.

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