Biography


Alain Pino (b. Camagüey, Cuba) is a visual artist whose work navigates the intersections of technology, design, and image-making through photography, painting, and installation. He began his formal training at the Professional School of Arts in Camagüey and later studied at the Instituto Superior de Arte in Havana before immigrating to the United States in 2015. From 2009 to 2017, he was co-founder of The Merger, a renowned Cuban artist collective that gained international visibility.

His early years in New York were formative, shaping his perspective on contemporary art and on migration as an ongoing process of survival,


 

Curriculum...

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adaptation, and cultural negotiation. In 2018, Pino participated in the CAF & RU Residency in New York, a pivotal experience that deepened his artistic inquiry into the relationship between visual culture and systems of power.

Pino’s work has since been presented in institutions and galleries such as Brian Top Gallery and Toth Gallery (New York), MOCA-A (Miami), 21c Museum Hotel (Cincinnati), and 40mcube (Rennes, France). Notable projects include Profiles (2019), Refuge: Needing, Seeking, Creating Shelter (2022), and Two at a Time, Two Everywhere (2023).

Since relocating to Miami in 2020, his practice has grown increasingly experimental, integrating physical and visual structures that transform images into interactive, spatial experiences. His installations and photographs move beyond representation, creating spaces where the mechanical and the symbolic converge, questioning the boundaries between technology, identity, and the human condition.

 
 
 

Statement

 
 
 

I am a multidisciplinary artist who explores mediums such as painting, photography, installation, and diverse technologies like 3D and AI. I began in the 1990s exploring themes related to gender identity confusion: faces of girls made indeterminate by their appearance similar to men through a subtle suspicion arising from marginal and violent attitudes. I used photographic silver emulsion on canvas and illuminated with oil to maintain the ambiguity between painting and photography.

From 2000 onwards, other themes I worked on in subsequent years included migration in relation to survival, through photographs printed on plexiglass and installed with aluminum tube structures, creating objects that evoked the Cuban exodus at sea.

 

Later, between 2018 and 2023, my work developed in painting and watercolor, and during that period my concerns revolved around integrating my previous experiences with 3D technologies and reflections on the marketing industry. I reinterpreted concepts of brand and celebrity as cultural icons, giving them new forms inspired by industrial processes, recreating artifacts that generated profiles of new characters.

Currently, I am investigating again from portraiture with a transhuman and dystopian point of view. Each character questions the indeterminacy of the future face of man and the one that artificial intelligence itself will have. The attempt at rejuvenation of the future human, androgyny in sexual gender, false identities, in addition to a cyborg aspect that would increasingly grow.

 

Currently, I am investigating again from portraiture with a transhuman and dystopian point of view. Each character questions the indeterminacy of the future face of man and the one that artificial intelligence itself will have. The attempt at rejuvenation of the future human, androgyny in sexual gender, false identities, in addition to a cyborg aspect that would increasingly grow.