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Yo Inmigrante Miami

The sensitive nature of the migratory imaginary is the notion that runs through the iconography of Rayma Suprani (Caracas, Venezuela 1969) in his last individual proposal gathered under the title I immigrant. It is an exhibition made up of various drawings made in 2018 in which it addresses the calamities and other circumstances that invade the nature of the immigrant, with the intention of starting an itinerant project that will travel through various cities of the world to tell, from a less critical and bloody place, the terrible subtleties that emotionally tear the subjects reached by the sensation of loss of a place of recognition called country.


The pieces that make up Immigrant Yo are the result of an archaeological exploration through the emotional desert, a region where aesthetic solutions converge that go beyond the descriptive will of the migratory phenomenon to propose a metaphorical plot about forced travel, transience and resilience from strategic places of humor, to open alternatives linked to a right denied by oppressive political systems: freedom.


The characters that Rayma represents, tell us in a brief way, unfortunate real-life circumstances of millions of people who go through immigration controversies, through a graphic style that symbolically grants a breath of air to follow the journey. These images are a mirror that allows us to move forward and not lose ourselves in the journey.


The starting point of the reading of I immigrant runs around a narrative of no place, an idea recreated in the context of his native country Venezuela, a territory currently in conflict over which Rayma does not want to gloat in the shadow of grief, nor much less in the illusory permanence of an overwhelmed reality that lacks shortcuts and any possibility of returning without marks, without scars; On the contrary, it seeks for the viewer to assume abandonment and loss as an opportunity to strengthen forms of identity from the irony of uprooting.


While it is true that Venezuelan political conditions have influenced the development of his pieces, it is no less true that the theme is part of the problems of exile, migratory crises, belonging and exile, as well as the limits and borders that limit many men and women in their movements on a global scale, regardless of their origin.


Not surprisingly, the exhibition takes place in Imago Art in Action, a space for cultural action and sensitivity anchored in a nation with a migratory history that, from the shelter of the sonnet by Emma Lazarus (New York, USA, 1849) El Nuevo Colossus (1883), inscribed on the pedestal that raises the monument of the Statue of Liberty in New York, welcomes all those who have been lost in the storm, those who left in search of a better destination, those who dream to live in freedom, to those who are willing to transplant roots that build a global community that is more human, more open and more sensitive to the difference and diversity of the contemporary world.


Pietro Daprano