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2018: Relational Undercurrents

RELATIONAL UNDERCURRENTS show extended through March 4.

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In a new review of Relational Undercurrents James Scarborough writes, "WHAT IF I JUST HAD 20 MINUTES? Once you understand how banyan trees grow from seeds that land on other trees and, over time, germinate and strangle their host, you'll better appreciate the incisive commentary of Lilian Garcia-Roig’s Fluid Perceptions: Banyan as Metaphor, 2016."- January 29, 2018Great to see that my painting was the first work prioritized to see if you only had 20 minutes to view the show-read the full review at:

http://perhapsperhapsperhaps.typepad.com/what_the_butler_saw/2018/01/relational-undercurrents-contemporary-art-of-the-caribbean-archipelago-museum-of-latin-american-art-.html

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2018: Cernuda Arte (HECHO EN CUBA)

Cernuda Arte will be showing my new HECHO EN CUBA paintings this year. A solo show of these works will open May 4 but a sneak preview is up now. These paintings were made on-site in, in the iconic Pinar del Rio region of Cuba....I was trying to (as literally as possible) follow in the footsteps of the great Cuban landscape painters...while still trying to do my own Cuban-American thing.

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2018: Enchanted Florida

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http://artandhistory.org/event/enchanted-florida-picturing-contemporary-landscape

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2018: Columbia “Relational Undercurrents”

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Other artists talking about their work that day are (from left to right) Lisa Soto, Anvil Gosine, Edgar Endress, & (not pictured) Carlos Martiel...also in picture below, curator Tatiana Flores and participating artist Nicole Awai.

https://wallach.columbia.edu/exhibitions/relational-undercurrents-contemporary-art-caribbean-archipelago

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2018: Cernuda Arte (Art Miami) “Made in Cuba/ Reconstructed Sights”

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Cernuda Arte will be featuring several of my new  works from my "Hecho En Cuba" & "Reconstructed Sights" series at their booth in Expo Chicago. More work from this series will be exhibited in my upcoming solo show with them that opens Friday, November 2. They produced a catalog for that show that includes an essay by FIU art historian Carol Damian.

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