Recent Work

Would you believe it, Ariadna? The Minotaur scarcely defended himself.

(The House of Asterión. Jorge Luis Borges)

Imagine a world where we all have the same problems but we call them differently. Imagine, thousands of people calling the same God by different names and undertaking deeds in his honor. Imagine having the same concerns as the ancient inhabitants of Ethiopia or the current Machiguengas of the Urubamba River basin. Welcome to the world we live in. A world in which the same stories are recovered again and again and intertwined, no matter how much Artificial Intelligence we may be training at this moment, at the core of this human is that same human who asked the Sun for better harvests.

From the barbarism of Culture itself.

I present to you my work, a vision of Art, from the perspective of Cultural Anthropology, from the barbarism of Culture itself. A journey of discovery that began in a forgotten place in the Insular Caribbean, passing through the Peruvian Amazon, to reach The Melting Pot of today’s America.
In my work, dear reader, you can find experiences interacting with different cultural groups with the estrangement of the visitor who arrives, and with the difficulty of the child who does not know how to read and is locked in a library where all the books tell a story and he must find out what story it is. Because in the end all stories are the same story.

Sculptures

Drawings

Mixed Techniques

About us

Contemporary Sculpture

The Winner

This sculpture is a re-creation of a key symbol of humanity’s great religions throughout history: a symbol that demarcate the birth of symbolic sacrifice, and simultaneously its disruption.

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fermin fleites recent work

A Vision of Art, from the perspective of Cultural Anthropology

You can also find a deep respect for techne and the habit of drawing everything, perhaps inspired by the Andean shamans who resist being photographed because it stops them. You will also be part of an original time where the past and the future are just nuances of a continuous present that is nowhere.

Thus, citing some examples, “Story of a Fight against Demons,” a charcoal drawing inspired by the story of a town that decides to move its church from its location (the coast) due to frequent attacks by demons, without knowing that by moving it they were carrying the demons with them, because they carried them inside. Then we have “The Winner” based on the figure of the Ram and its founding character in the majority of cultural narratives, known to our species and supported on one of the sleepers of the railway track promoted by Flagler since New York to Havana and which was partially swept away by the Great Hurricane of Labor Day of 1935. Or “The Three Marys,” a series of photographs based on three mothers: One who is 102 years old, one who is 33 years old and one who is 13 years old. All these works mark cycles that open and close on themselves.
What comes into your hands is a kind of travel log of someone who watches us retrace the same cycle of time over and over again. A kind of visual memory of memories, interspersed with symbols.

I invite you to immerse yourself in this Universe of events with crossed times where it is not strange to end at the beginning and where there is nothing but stories, hundreds of stories and interwoven stories.
Compiling stories will always have an implicit share of arrogance, since you run the risk of leaving out important details. Intertwining them, on the other hand, will always allow you to move as if inside a labyrinth where for each route that comes to an end, hundreds of other routes unfold. And that is the spirit with which I would like you to look at this work, with the certainty that to understand it you will have to take hold of your own ball and enter the labyrinth.