By: Katia Camejo
Havana, Cuba. – Agustin Villafaña has continuously developed so many different art expressions in his prolific life, that it is hard to define him with another word that is not creative.
Even in the middle of his multiple projects, this Cuban virtuoso agreed to dialogue with Radio Cadena Habana and let us get a close look at his productive existence and his peculiar way of conceiving Cubanhood.
We have heard that since a very early age your sensitivity to comprehend reality and turn it into art was remarkable. How do you remember your beginning as a creator?
“Art was always in me and I had a hard time to decide which artistic expression I would pursue. Imagine, I liked music and also writing literature, but nobody questioned my talent in plastic arts. I began to take painting lessons from elementary level until I had to decide what to do. Then I enrolled in Santiago de Cuba provincial academy and I always highlight the fact that thanks to revolutionary artistic education, people like me, from very humble homes and remote confines, were able to study and develop all our potential. Later, I came to Havana and to the National School of Arts, the wonder created by Fidel so that those who had some artistic talent could be taught by the best professionals in the country. My learning was also imbued by the strength and rebelliousness of my ancestors and that has kept me from getting pigeonholed in any specific material, genre or support. I am passionate about experimentation in everything I set out to do.”
When did Agustin Villafaña understand that his work already had the necessary quality to be compared to his mentors?
“Life gradually motivated me. I won several prizes. I created important workgroups for Latin American pottery, like “Terracotta 4.” I was part of a movement that was brewing in Cuba to create a new kind of artist. It was meant to promote national culture, delve into the roots, and find in each territory those who had creative potential to work together in community projects. That is why once I got my degree, I insisted on sharing my knowledge with others.”
Pottery has been undoubtedly essential to your career
“I guess I was one of those who could comprehend the development of pottery from another position; not only by founding important groups of the plastic expression, but also by understanding this as a major art and giving it a renewed visualization. I cannot refer to this part of my life without mentioning Isla de la Juventud, where I arrived like a conqueror, thinking of making changes and ended up totally conquered. Over there, I learned from other people who had their own experiences, I got my best friends and I even fell in love.”
After that, Villafaña and his work returned to Havana. What have been other significant moments in your career?
“I came back with the idea of building new perspectives and began to dream of other projections, as a result of meetings with Commander in Chief Fidel Castro and other artists from UNEAC. One of those creations was “Proyecto Yeti”, based in the municipality of Playa, in Miramar neighborhood. Today, it has grown to the point it already belongs to the city movement of plastic arts. There is a studio-gallery, where painting, pottery, engraving, drawing, photography and design workshops operate, from elementary to specialization. And now I'm creating a new pottery group, which will be called “Calle 13.” It has been the way to provide guidance in these subjects to people of different generations and from different backgrounds.”
How much music, which you love so dearly, accompanies you in every new endeavor?
“I would say everything. I have a dormant musician inside of me. I started studying trumpet, for this instrument was family tradition, but I left it and, as I was saying, I decided on plastic arts. But the most important fact is that we live in a very musical country and plastic has plenty of music. I repeat a saying from Santiago de Cuba: “Here, anyone can play.”
And so, with the rhythm that Agustin Villafaña gives to each of his creations, we wrapped up our dialogue, which we thank him for; while wishing him good health and all the best.
Translated by Pedro A. Fanego
