José Bedia’s Salto transcendental de un agujero negro a una estrella (ca. 1990) showcases his distinctive style, shaped by Afro-Cuban spirituality and other cross-cultural influences. Born in Havana, Cuba, Bedia draws from a rich tapestry of African, Caribbean, European, and Native American traditions. His initiation into the Afro-Cuban religion, Palo Monte, profoundly transformed his artistic approach from “anthropological documentation” to a translation of traditional motifs into a spiritual and visual language.

The circular acrylic painting resembles a cosmogram or mandala, fragmented into ten triangular sections. Each section features etched scenes depicting both earthly and symbolic aspects of life, including mountains, birds, deer, clay pots, boats, planes, the moon, and the sun, all set against a vibrant red background. At the center of the composition, a long-limbed blue figure strides from a black void toward a radiant star. This figure is tethered by lightning-like lines to the title of the piece and the edge of the circle. The imagery suggests a metaphysical journey in which the human figure acts as a bridge between earthly elements and cosmic transcendence, embodying movement, transformation, and continuity beyond darkness. The figure traverses both the celestial and terrestrial realms, suggesting that this harmonic tension represents a delicate dance all living beings must perform to balance and navigate these interconnected worlds.