Circular Reflections

Pedro Vizcaíno works within a raw, high-energy aesthetic synthesizing 1980s urban street art, graphic design, and expressionist illustration. Deliberately crude draftsmanship, heavy outlines, and a vibrant unrefined palette capture the urgency of graffiti culture.

His paintings and mixed-media collages offer socio-political critiques, populating canvases with menacing anthropomorphized cars, shoes, and machinery as allegories of violence, commercial saturation, and systemic power.

Academic Foundations: Born October 11, 1966, in Centro Habana, Cuba. Graduated from Academia Nacional de Bellas Artes San Alejandro (1981) and the School of Artistic Education at the Enrique José Varona Superior Pedagogic Institute in Havana (1985).

Institutional Service & Parallel Disciplines: Worked as a fine artist at Taller de Serigrafía René Portocarrero in Havana (1989–1992). In 1986 he co-founded Grupo Arte Calle with Aldito Menéndez, Eric Gómez Galán, Ernesto Leal Basilio, Iván Álvarez, Ariel Serrano, and Leandro Martínez Cubela; active through 1988, the collective used public performances, interventions, and murals for social commentary.

Exile, Translocation & Relocations: Departed Cuba for Mexico City in 1992 for a solo exhibition, then crossed into the United States in 1993 and settled permanently in Miami.

Current Status: Maintains an active Miami studio practice producing paintings and drawings for international galleries and collections.

No teaching appointments listed in the supplied curriculum.

Anthropomorphic Machinery & Urban Monsters: Menacing, animated vehicles, airplanes, tanks, and shoes rendered with aggressive outlines as psychological extensions of the modern ego and allegories of military and commercial dominance.

“Wild Child” Cartoon Aesthetic: Deliberately crude, graffiti-inspired draftsmanship that subverts academic high art and expresses anxieties about institutional control and vulnerability.

Toy Assemblages & Object Interventions: Discarded toys, cardboard, plastics, and found street materials transformed into sculpture and collage as commentary on globalization, waste, and diaspora memory.

2023: Pedro Vizcaíno: Mind Control, NAME Publications Gallery Space, Miami.

2014: Recent Works, Galería Nina Menocal, Mexico City.

2008–1992: Wild Child Graffiti, Figarelli Contemporary; Retro-Futurismo, CDAV Havana; The Palace of The Lost Children, A+Resources; Urban Beasts, Ambrosino Gallery; Toy Interventions, Generous Miracles Gallery; and exhibitions at Gutierrez Fine Arts, Fredric Snitzer Gallery, and Galería Nina Menocal.

2026: Circular Reflections: Living Documentation of Cuban Visual Creativity, Westchester Regional Library, Miami.

2025: Circular Reflections: Cuban Art Documentation Project, St. Thomas University.

2019–1986: Selected surveys include the Rodríguez Collection, Foosaner Art Museum, CCCB Barcelona, Museo Universitario del Chopo Mexico City, CDAV Havana, and Grupo Arte Calle interventions at Parque del Quijote and ISA Havana.

1991: Creative Scholarship Award, General Secretariat of Social Development (SEDESOL), Mexico D.F.

1988: Honorable Mention, “March 13” Painting Salon, Havana.

2026: Miguel Rodez, “Catálogo: Reflexiones Circulares,” InCUBAdora (article).

2025: Miguel Rodez, Circular Reflections: Cuban Art Documentation Project, St. Thomas University Press.

2020–2007: Selected critical writing by François Vallée, Alfredo Triff, Andrea O’Reilly Herrera, Ricardo Pau-Llosa, and Janet Batet.

National Museum of Fine Arts (MNBA), Havana; Lowe Art Museum, University of Miami; Pérez Art Museum Miami; Museum of Contemporary Art (MOCA), North Miami; Museum of Latin American Art (MOLAA), Long Beach; Kendall Art Center / Rodríguez Collection, Miami; Ninart Cultural Center, Mexico D.F.