Grethell Rasúa’s artistic personality struggles between dissent and skepticism. We will find her resolute, working on the cultural and ideological levels of everyday existence, for it is in its deconstruction where she finds evidences of absolute truth. She is extremely direct; sometimes she even reaches such high levels of cruelty that she hurts us. But her intention is always salutary, since she makes us think of many things that crowd around us, of the myths in which our hopes rest and the utopias that fill our habitual efforts. Then, reflecting after the pleasant pain of an insidious conspiracy is vital. The body sacrificed before the jibe is the dying piece of conformism and peevishness we all carry tied to our guts.
Profoundly reflexive, the main motive of her artistic work is utopia. She simulates it every time, presenting it as a farce. That is why she deceives the onlooker, so after the evidence of her burlesque action, it becomes clear the artificiality of many other constructions that operate in the weft of social life, human culture and political discourse. Her artistic procedure is sensorial and visually torturing, and in not few occasions it is founded in abject contents to make more solid the rhetorical twist of her bloody discourse. Besides, the topic of wastes, fluids, and more exactly, of human excrements is the element she uses to build the critical body of tropical megalomania. Excessively disturbing, and even frustrating, we will also find her cracking places and practices of high symbolical content for Cuban society. She aspires to remove the political content from rostrums, discourses and efforts.
Hers is an unconformable, dilettante spirit with the feet on the ground. Her eyes have been provided of the capability to doubt. No more dreams or false conspiracies; Grethell Rasua’s oeuvre is the sensible voice of suspicion, and that voice suffers from fierceness.