Graduated from San Alejandro (1979) and later from the Superior Institute of Art (1984), Marta María Pérez is granted with great recognition due to his work at the Contemporary Art universe. Since the 80s, when it scarcely began to influence nationally, her work went far beyond our boundaries to insert itself quickly in the diverse spaces of the expositive international circuit. In fact, it has been included in so significative projects such as, Raíces en Acción (Mexico), Cuba OK (Germany), Los hijos de Guillermo Tell (Colombia), La isla posible (Spain), Cuba Siglo XX: Modernidad y Sincretismo (Spain), Photography in the 90´s (United States), among others. Her collection has been placed at important galleries and art centers, biennials and fairs, taking a highlight position the prize obtained in Arco´97 as ¨Revelation Artist¨. She also received artistic residences at Institutes, Workshops and Foundations.

Despite the large temporaries of work outside the island, the Cuban public can eventually perceive her creation at the III and IV Bienal of Havana, at group and solo exhibitions in National Fine Arts Museum, Wifredo Lam´s Center, Casa de las Américas, the alternative Espacio Aglutinador and recently at La Casona. In final decade of XX century, Marta María was distinguished with First Prize of Photography ''Nudi´96'', sponsored by Fototeca de Cuba.

In the artist´s work, photography -primordial manifestation- is lacking of traditional principles: improvisation, objectiveness, mimesis. Then, a favorable atmosphere to renovate this nature appears to favor the technical, expressive and aesthetic experimentation. Is in this way, that it can pretend the opening to other zones, closer to the emotional, psychological or dreamlike facts. As Orlando Hernández said, Marta María ''managed to convert the photography act in a resource for exploration to which the photography has been never prepared: discover and catch with the lens the invisible mechanisms of religious, mythological and magic thoughts''.The scenes -theatrically built- in which the artist involves herself, are never apart from ritual and religious themes, even when she wants to make these situations unreal. Her close tendency to Afrocuban religious practices, does not hinder her to get free of any dogma, she gives us an unbounded spirituality from that space, autonomous in a way, which includes the artistic fact.

Courtesy of ARTECUBANO Magazine

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