Animales sin rumbo No.1
Acrylic on Paper
20x26in
$1,020
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Ian Mont
Spain
Artist highlights
- Featured in gallery curations
- Works on commission
Discover the creation in interiors
Other artworks by Ian Mont
Artwork details
- Medium : Acrylic on Paper
- Other details : Unmounted artwork. Mounting and/or framing available on request.
- Dimensions : 19.7x24.4in
About this artwork
The distinction between monster and human begins to dissolve. Space is no longer a battlefield, but an intermediate zone, a mixture, a symbiosis. Forms contaminate one another: the abyssal creature and the human figure confront each other, but also reflect one another. The sea acts here as a symbolic apex of exile: it not only threatens, but also transforms. Matter accumulates in areas of tension, revealing pictorial scars that are also historical…
scars. Here, it is no longer a matter of struggle, but of survival from within the wound.
Ian Mont
Spain
Credentials
- Featured in gallery curations
- Works on commission
Ian Mont (Puerto Padre, 1972) paints the memory that exile fragmented.
He exhibited in Cuba during the 1990s until a scholarship brought him to Spain in 2006. He never returned. Between 2006 and 2018, he survived by working in technology, the painting being buried along with the works he couldn't get off the island.
Since 2018, he has returned to oil, burlap, and rough materials, but his practice has mutated. He combines traditional painting with artificial intelligence applied to historical archives, working with photographs of Ellis Island and colonial records to reconstruct what was silenced. The series "Iconoclasms" and "Animals in Conflict" dismantle sacred and national symbols to reveal their hidden violence.
From Barcelona, he develops a visual archaeology of Atlantic migration. He doesn't seek beauty, he seeks testimony. The wound doesn't heal, it breathes.
He exhibited in Cuba during the 1990s until a scholarship brought him to Spain in 2006. He never returned. Between 2006 and 2018, he survived by working in technology, the painting being buried along with the works he couldn't get off the island.
Since 2018, he has returned to oil, burlap, and rough materials, but his practice has mutated. He combines traditional painting with artificial intelligence applied to historical archives, working with photographs of Ellis Island and colonial records to reconstruct what was silenced. The series "Iconoclasms" and "Animals in Conflict" dismantle sacred and national symbols to reveal their hidden violence.
From Barcelona, he develops a visual archaeology of Atlantic migration. He doesn't seek beauty, he seeks testimony. The wound doesn't heal, it breathes.
