No One Can Stop Lesbia

No One Can Stop Lesbia
Fecha de publicación: 
9 November 2022
Imagen principal: 

Lesbia Vent Dumois is always surprised on her birthday in full creative activity.

That's how it was last year, while she was exhibiting a retrospective exhibition at the National Museum of Fine Arts.

The same happened this Sunday, when she turned 90 years old.

It’s that Lesbia has never gloated in the serenity of the office: tireless in her daily struggle, efficient, and sensitive in her management work.

But she, of course, is much more than a promoter, an organizer… she is a complete artist. Her modesty cannot hide the strength of her creation, rooted in beauty and the fine poetry of evocation.

It’s a celebration of memory, nostalgia, filigree... and at the same time, of resolute drama.

The National Prize for Plastic Arts that she received in 2019 highlighted the values ​​of a work that discusses the past and its projection in the present, with careful execution and delicate lyricism.

Lesbia, for example, is one of the main references of contemporary Cuban engraving. But she has lavished herself on other expressions: drawing, painting, sculpture.

And her long itinerary has allowed her to dialogue with great masters in all specialties. She has been a great teacher for a long time.

At Uneac, in Fine Arts, in academic spaces, at exhibition openings, in her workshop... Lesbia is there.

Enthusiastic, tireless, purposeful. Permanent and dearest presence. Critical conscience, indisputable authority.

She lives intensely, she has no time to waste. She is an example of determination and professionalism for entire generations of artists.

And she is an exceptional human being, friend of her friends, supportive and sensitive.

One sees Lesbia and immediately understands that she is worth it, that it is necessary to continue founding.

Last year she confessed to this website some of the constants of her work, which were shown in her exhibition:

"I think the first one is the woman. I don't think I intended it, but in the end it turns out to be obvious. I discovered it myself when I saw these works together. The female figure has been very attractive to me, not only formally, but also as a creative impulse, as an intention, as a discourse.

“The other constant is José Martí. Martí is essential for me, he is an irreplaceable reference. Martí is thoughts, idea, example. My father always instilled in my sister and me a love for Martí. I remember perfectly what he told us, what he told us about this extraordinary man. That stayed with me. And I have put it in my work, in all my work, although sometimes it’s not obvious.

“And the other thing, although some may not notice it right away, is irony. I’ve never been an orthodox woman; I always see everything with a lot of humor. Subtle, incisive humor, which is what I like”.

And Lesbia added, speaking of her motivations:

“In my memory the image of my grandmother lingers, who was very patriotic and very educated. I think that part of the education we have in the family we owe it to her. From my parents I always keep in mind her teachings about the worth of the job. They also made me see that as important as the job was friendship. I’ve always cultivated that. My friends are also in this exhibition, and there are many of them. There’s my sister Odenia, who died so young. She always lives in my memory, we were very close, even in our common profession: we both studied teaching, we both studied plastic arts... and we started making prints together, that's why one of her works is exhibited. There is my life partner, work partner, who was also my teacher: Carmelo González. They are, in short, my lifelong friends. I believe a lot in friendship.”

And life has rewarded her with a legion of friends.

Translated by Amilkal Labañino / CubaSí Translation Staff

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