The Nearest Edge of the World: Art and Cuba now Published January, 1st 1990Written by Gerardo Mosquera Seldom is the inner essence of feminine life so clearly expressed as in the work of this artist. Her painting derives completely from a woman’s vision and sensibility, even when the questions discussed do not especially pertain to women. Her fantasy about things comes from her true subjectivity that contains a great many childlike elements and produces a work that is enigmatic, made as though in a state of grace.
It has been said that she tries to bring the social and the historical to the familiar, and to express the result in a convulsive outpouring- an exact coincidence between the work and the milieu in which the artist lives. The critic Tonel states that “the visual perverse atmosphere of the world of Havana and its correlative social ambience are the true content” of this art.
Another clue may be that Ana is a type of naïve graduate of the Instituto Superior de Arte de la Habana (Superior Institute of Art, of Havana). In her work, ingenuous and “cultivated” styles of painting have merged, with the addition of a vernacular component and a dose of Italian transvanguardia, giving rise to imaginary fairy tales of everyday life that at times can be quite biting.