Ricardo Brey’s recent exhibition, “All that is could be otherwise,” comprised mainly recent collages on drawings and photographs, but its physical and conceptual centerpiece was a sculptural work that dates to the dawn of the millennium. For those unfamiliar with the Cuban-born artist who rose to prominence in the 1980s as a founding member of the avant-garde Volumen I collective, Birdland, 2001a large nest made of old coats cradling several ostrich eggs and a swanlike saxophoneintroduced two of Brey’s hallmarks: a strong association between nature and music (specifically Afro-Cuban and American jazz: in this case, Charlie “Bird” Parker) and his penchant for salvaged materials.
Made shortly after the birth of his daughter, Birdland also provided useful autobiographical context. Describing the nest’s saxophone occupant, Brey has pointed out that the instrumentsurprisinglywas
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