Amy Bravo, a Cuban/Italian American artist located in New York City, explores the intersection of culture and family within her artistic endeavors. Represented by Swivel Gallery in Brooklyn and Semiose in Paris, she deeply delves into the concept of family, whether it’s a discovered, unconventional family or one tied by blood.

Amy’s art mirrors the journey of a Queer Cuban individual navigating the complexities of having few living relatives of Cuban origin, exploring the intricate web of ever-evolving human identities, familial ties, and LGBTQ+ themes. Through her works—unstretched canvas paintings, tactile collages, and sculptures fashioned from family keepsakes and thrifted materials—she grapples with the idea of cherishing a place or people despite disparities, prompting contemplation on the true nature of such emotional connections.

Amy has been on a journey of self-discovery and artistic growth. She recounts her whirlwind of a year in 2023 as a transformative chapter. Graduating with an MFA from Hunter College in NYC in 2022, Amy swiftly dived into showcasing her talent, being a subject of four solo exhibitions within just six months, a leap from her previous pace of creating only a few paintings annually. This rapid transition compelled Amy to reimagine her creative process and grapple with the blur between her art studio and personal space, a struggle many can relate to. For her, it’s not just about making art; it’s about finding that balance between work and life, leaving the studio without feeling the pull to create late into the night.

Her journey isn’t just about paintings; it’s about weaving her family’s story into each piece. As a self-funded artist, she had to bid farewell to side jobs, an intimidating leap into full-time artistry. It’s a leap she took knowing it’s a path she had to walk alone. Amy’s work, intense and personal, mirrors her own evolution, diving deep into family tales and creating tactile pieces that resonate with raw emotion and history.

As part of our ongoing ‘Hypeart Visits’ series, we visited Amy Bravo’s Brooklyn studio to discuss her emerging contemporary art practice, her creative process and projects that she has lined up this year. Read the full interview below.

“I need to make seven failed attempts before getting to one that works.”

How were you navigating 2023?

It felt like a year of growing pains. I graduated with my MFA in 2022 from Hunter, and then dove straight into my first shows. From there, I went on to produce my first solos. Within six months, I went from creating a few paintings a year to developing work for four solos. It was overwhelming. I shifted my workspace to my apartment, struggling to separate my life from work. Balancing that and transitioning to a full-time artist after quitting my side jobs was scary, especially since I’m self-funded. I was babysitting until recently, but now I’ve fully committed to being an artist.

Your work is intensely intimate. How did you manage such a large volume of work?

Each piece takes considerable time. I spend a lot of effort on every piece. I need to make seven failed attempts before getting to one that works. With such a quick pace, I couldn’t afford to fail as much. Slowing down would allow me to fail more, producing work that truly resonates.

“It’s been a journey for me, confronting and challenging archetypes within my family through my work.”

Can you explain the term “transmogrification” you’ve mentioned?

Transmogrification means transforming preposterously and ridiculously into something else. It’s been a journey for me, confronting and challenging archetypes within my family through my work. Now, I’m embracing the transformation on my own terms.

Your artworks often incorporate animals and human figures. Do these reference specific people?

Oftentimes, these objects represent family members. For instance, the rooster symbolizes my grandfather, whose energy I incorporate into my work. Each animal holds significance tied to my family’s history and dynamics.

“My work is about conversations I wish I could have with deceased family members.”

Any particular rituals or stories that inspire your work?

My work is about conversations I wish I could have with deceased family members. I draw from their stories, often filling gaps in oral history with my own interpretations. For example, my grandparents were cowboys in Cuba, and I reimagine these stories, finding parallels with queer nightlife or other personal experiences.

How did your art evolve from your beginnings to what you create now?

I started by experimenting, figuring out what resonated with me. During my MFA, I delved into sculpture, integrating it with my paintings. I’ve always wanted to create things that challenge and surprise viewers, leading to a fusion of different mediums.

Developing a body of work can be challenging. How do you decide what to include?

I create a lot, then pare down what works. I throw everything out there and see what sticks.

“Once I choose an object, it guides the rest of the piece’s creation.”

Your choice of objects in your artwork seems random. How do you decide what fits?

Objects I use should feel like they belonged in my childhood home. Once I choose an object, it guides the rest of the piece’s creation. For instance, a broken candlestick became a humorous addition, surprising even me during the creative process.

Are you exploring new mediums?

I’m delving more into fabric and embroidery, inspired by my grandparents who were seamstresses. I want to master machine sewing, a New Year’s resolution for me.

Any upcoming projects?

I have solos lined up in Milan and Paris, each reflecting different aspects of my recent work. Then, all focus goes to a major solo exhibition in September during the Armory Show.

Photography provided by Keith Estiler exclusively for Hypeart.