Sandra Ramos

Isla Desierta / Desert Island, 2018-19, video animation, woodcut, 35 x 45 x 5 inches

A traditional Japanese haiku is a three-line poem
with seventeen syllables. By focusing on images of nature, haiku emphasizes simplicity, intensity, and openness of expression. In this installation series, I use these poetic resources translated into a short animation surrounded by
a vignette-like woodcut frame, to highlight briefly but consistently contemporary life issues related to uncertainty, migration, and sociopolitical and economic manipulation of populations in our globalized world.

(Press Music Symbol For Sound)

Noticidio / Newside-Tribune, 2018-20, video animation, woodcut, 45 x 35 x 5 inches

Newside-Tribune refers to the mental exhaustion

of the individuals in contemporary societies, due

to misinformation, manipulation of the medias, and the political, religious or commercial indoctrination. These are negative aspects of collective communication that we all suffer in the world nowadays. Media campaigns, propaganda, psychological warfare and the creation and distortion of the news are the weapons with which members of certain groups in power create an idea that favors their particular interests. In Cuba, specifically, the issue of free press and access to information has been a taboo since the beginning of the revolution, because of the stricter official control over news and mass medias. In the animation, the pioneer girl  is in an infinite and torturous cycle, swallowed by microphones that, like snakes, come out of the television.

(Press Music Symbol For Sound)

El Cake podrido / The Rotten cake, 2018-20, video animation, woodcut, 35 x 45 x 5 inches

The Rotten Cake is an animation that refers to the decline of the economy and politics in Cuba, exhausted by many years of contradictions and dysfunctionalities. This piece symbolically describes the lurking of opportunistic factors, that like flies, hope to take advantage of the necessary and long overdue change on the island. The video is shown inside a woodcut that represent an old television set, like those that exist in many Cuban houses, where as a newscast we see the image of the island as a rotten cake surrounded by vigilant flies.

(Press Music Symbol For Sound)

Corre conejo / Run Rabbit, 2018-20, video animation, woodcut, 35 x 45 x 5 inches

Run Rabbit: It is a piece in the series of vignette animations based on the simplicity, brevity

and symbolism of Japanese haiku poems. In this case the piece diverges from the autobiographical and experiential to reflect collective concerns of Cubans or any immigrant.

 

The rabbit, undecided animal, runs over the sea, escaping from the shore that marks in this

case the landscape of Havana, escapes running, cowardly and opportunely from a socio-political context that it is not capable of changing.

Trumpy Dumpy is a comic - sarcastic personification on video animation of Donald Trump as the famous English Rhyme character Humpty Dumpty who is represented as an anthropomorphic egg that falls from a wall to break into pieces. In the piece, the

woodcut wall that surrounds the video establishes a parallel with the one that the American president is trying to build on the Mexican border as part of his obsession with stopping emigration. Verses of the rhyme that adapt very well to the current political

context say:

Humpty Dumpty sat on a wall,

Humpty Dumpty had a big fall.

All the king's horses and all the king's men
Couldn't put Humpty together again.

(Press Music Symbol For Sound)

Trumpy Dumpty Wall, 2018-20, video animation, woodcut, 45 x 35 x 5 inches

 (Press Music Symbol For Sound)

Isla Desierta / Desert Island, 2018-19, video animation, woodcut, 35 x 45 x 5 inches

Desert Island is a visual Haiku that points to the depressive decline of the natural resources in our world. The brain as a geographical symbol, island, earth, planet deteriorates and gradually ages in the video, until the exhaustion of all its resources. The brain symbol of intellect and spirituality, burns, darkens and disappears. The piece also points to the cycles of transformation, death and resurrection in nature and in social systems, leaving a hope of optimism in the creative hands of future generations.

Artist & Studio

Photo: Pedro Wazzan