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Adrian Avila, born in 1989 in Holguin, Cuba, spent his childhood years there before moving to South Florida, where his passion for visual expression took root. He sharpened his skills at the New World School of the Arts and earned a scholarship to the prestigious Art Center College of Design in Pasadena, California. There, Adrian developed disciplined craftsmanship and a keen artistic eye. Graduating with a Bachelor’s degree, his early career included work with industry giants like Disney and Warner Brothers, fostering a professional dedication that defines his approach to creativity.
In the early 2000s, Adrian was drawn to Miami’s colorful Wynwood art district, where he established his base. By the age of 34, he had become a prominent figure in the city’s art scene, creating over 25 captivating murals worldwide and gaining national and international collectors along the way.
Adrian’s art challenges conventional perceptions of female representation, crafting a visual narrative that celebrates women’s power to inspire societal transformation and renewal. His philosophical approach imbues his work with a mysticism that transcends the visual, creating an aura of beauty beyond the paint.
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My studio practice is rooted in an exploration of the timeless self and its relation to the collective consciousness. It draws strongly on my experiences as a Cuban-American who lived different degrees of indoctrination throughout life relating to the expression of femininity, knowledge, and power.
As a visual anthropologist I aim to catalog my journey of unlearning social paradigms while connecting to my spirituality as I create a new visual language for the examination of emotions.
The visual language represented by texture, symbols, linear patterns and sacred geometric shapes that represent movement, all connect to illuminate the parallel light that travels in the depths of the discovery of the self.
“Astros” relates to the stars or celestial bodies. When deciphering the programming that shapes the understanding of my landscape within and without, my rationalization considers the astrological forces at play that relate to archetypes found throughout religious stories, psychological research, and spiritual themes.
“Logos” is considered the written word of god, hence the light that travels through my pieces recreating my discernment of emotions through a delicate process that I shape all starting with a dot. My intention for upcoming work is to connect the divinity found within the process of creating reasoning.
My art is an invitation to find peace within the layers of paint that I apply to each canvas. Through my work, I seek to create a sanctuary for the soul, where every brushstroke resonates with a sense of tranquility and harmony. My approach merges contemporary abstract techniques with an impressionistic vision, offering a dreamy interpretation of the world around me.
I paint not what is merely seen, but what is felt—a vision that exists somewhere between reality and imagination. The interplay of vibrant colors and a calming, soft palette forms the essence of my work, reflecting the dualities of energy and serenity, of movement and stillness.
When you stand before one of my paintings, I want you to be drawn into the intricate dance of brushstrokes. It is in these details, revealed up close, that my universe becomes clear. Each stroke carries intention and emotion, inviting you to immerse yourself in the experience, to feel the energy I have infused into the canvas.
Through my art, I aim to connect with the viewer on a deeper level, offering a moment of reflection and peace, where the complexities of life give way to simplicity and beauty. This is the world I paint, and I welcome you to explore it, one brushstroke at a time.
Over the past 25 years, I have been obsessed with the dismantling and rebuilding of images. They are just a fraction of time but with a story that is much more than the 2-D image you see. There’s a before and an after, a subject, photographer, intent, accident, situation, and so many aspects to choose.
My early works leaned toward a more voyeuristic approach with the use of found photos and appropriated images. By cutting and juxtaposing these multiple images on several layers of glass, I was able to create a theatrical environment in which they could merge into one story.
Within the past few years, I have made the transition to using my own photos (both film and digital)with fewer juxtapositions. Mainly, focused on the subject itself. These photos range from family and friends to random street shots.
This move to a more personal imagery strips away the voyeuristic and lets me concentrate on the photo itself. How important is it? Does it convey a feeling, a moment… just for you or others. If so, how can I enhance it, is it worth being altered, if so why? What am I trying to say? And then trying to do that while everyone has an infinite photo collection in your pocket.
In removing certain characteristics and past techniques, I can deconstruct and reconstruct the images with much more freedom. layering the photo on top of itself multiple times, then disregarding some aspects of the image and enhancing others, the introduction of color fields and space, I am able to create a more in depth and realization of that fraction of time.
No two people ever see or interpret the world in the same way, but the world they see is their world; I’m just trying to show bits of mine.
