This work belongs to the abstract period Flavio Garciandía called “New Tropical Abstraction,” in which his work was informed by Informalism. With a postmodern gesture, the artist resorts to the language of informal abstraction and Cuban neo-concrete art of the 1950s. He mixes elements of irreverent and obscene iconography with the aesthetics of drip painting, paying tribute to popular and vernacular culture and dismantling dogmas of history and national symbols. With a playful, burlesque intention, phallic forms desecrate the recurrence of red and black colors (used in the emblematic images of socialist ideology), accentuating the Jackson Pollock–like strokes and their expressive force. The work also revisits the island’s pictorial modernity and paradigms of the international artistic avant-garde. With an extensive work that includes drawing, painting, installation, and video, Garciandía belongs to the so-called generation of the 1970s in Cuba.

He graduated from the Instituto Superior de Arte in 1980 and had a remarkable influence on Cuban art of the 1980s and 1990s.