La memoria de narciso 3 presents a visual tension between two forms of representing value: an organic, irregular, almost mineral surface and a lower gemstone constructed through geometric facets. In this abstract drawing, James Bonachea transforms these elements into a suspended composition where materiality appears detached from its everyday function. Green dominates the work, connecting both forms while their contrasting treatments create a dialogue between the natural and the constructed. The precision of the gemstone against the gestural texture of the stone reinforces the series' conceptual exploration of appearance, desire, and symbolic value.
This series of works stems from the reflection on the value attributed to objects (metals and precious stones), established culturally and historically by society. By means of the two-dimensional representation where the artist creates a series of drawings that dialogue ironically with the concept of value, understood by the added content, I represent scenes and objects that are directly related to the idea of exchange and judgment fundamentally using a chromatic range that is associated with said judgment (gray graphite as a physical component of the diamond in another density, gold, silver and bronze as metals representing different scales of value), combining such materials by its chromatic symbolic quality. The artist I use the technique of watercolor on cardboard and graphite on canvas as a medium essential for the realization of this project.
Discover this abstract drawing by James Bonachea and acquire La memoria de narciso 3 for your contemporary art collection.
Abstract Drawing - La memoria de narciso 3, 2017. By James Bonachea
La memoria de narciso 3, 2017
From The Series The memory of narcissus
Watercolor on cardboard
Dimensions: 39.3 H x 27.5 W in.
Unframed
Bonachea studied at the Escuela Profesional de Artes Oscar Fernandez Morera, in Trinidad, Sancti Spíritus and the Instituto Superior de Arte in Havana. He was part of the DUPP and Enema collectives, as well as Tania Bruguera’s Cátedra Arte de Conducta, in Havana. He has had several solo exhibitions in Cuba and Mexico, and he has participated in the Mercosul and Liverpool Biennials. From performance to drawing, his curiosity for revisiting the remote past has made him enter dialogues of historical vision and present condition of reality, giving as a result discursive forms that complement a universe of anachronic new meanings.

















