Ivonne Ferrer (b. Cuba) Graduated from San Alejandro Academy, and René Portocarrero National Silk Screen Print Shop, Havana, Cuba. Atribuciones in Fidelio Ponce Gallery (1990) was her first solo exhibition, which led her to leave the Cuban art scene for the Spanish circuit where she participated in: Expo Universal Sevilla 92, Arts Pavillion, La temperatura de Dios (1993), Fisiología decorativa (1994) and La isla mágica in Copenhagen, together with two masters, Julio Girona and the Spaniard Fernando Somosa, etc. Ivonne migrated to the United States in 1995. In 1997 produced Trinomio cubano at Botello Gallery, Puerto Rico and in 2001 the solo exhibition www.ivonne.com at Durban Segnini Gallery. 2012 (R) Evolution Comics, Solo Exhibition, Aluna Art Foundation, Miami. Her work is held in the permanent collections of: the Museum of Latin American Art (MOLAA), California. Arcale Pavillion, Salamanca. Museo María Sambrano, Madrid and Museo de Galicia, Madrid. She has also participated in many collective expositions: A Marriage of Science and Art, FIU, Miami, 2005. Soupe d’ escargot, Alliance Francaise, Miami, 2008 Supermix, Contemporay Art in Edge Zones Gallery, 2009. Itinerant expo for America and Europa I Have a Dream, 2010. Women at the edge of an island, Museum of de Cuban Art, Miami, 2015. Xico in Miami, Latin American Artists Exhibition, and Museum Park. Miami, 2017.
“Ivonne Ferrer […] evokes the tumult of Enriquez’s rapturous landscapes, the Christian iconography of the Last Judgment, surrealist juxtapositions of images beneath a sky loaded with Goyesque birds, and American pop culture […] metonymy in overdrive, providing a clear link between a generation’s hopelessness and the complex tradition of Latin American and Cuban Art of the unconscious.” Ricardo Pau-Llosa.
“Ivonne Ferrer’s work delivers us into a visionary realm that startles the imagination. She outthinks us in how not to be bored by history (parody it), or by whatever comes next. Her Cuban women are in trouble, but they’re warriors — savvy, political, and sometimes brassy as they discover the possible, which will be crowded and maybe disastrous. It also might be comic.” William Kennedy.