The craftsman shaped the sheet of the corn cob and shaped small manikins to offer a trip for different styles of the wardrobe and of famous personages.

“The corn sheet is difficult to work with. You are thinking about achieving something and when it kicks off to dry it is deformed, but it is been grateful if you shape looking for the mystery that it keeps, the fall of the cloth, the air that beats a ribbon. It is a new field for me and I like it”, the author said to Adelante.

The exhibition evoked, among others, the puttings Gisselle or Maria Antonia, big successes of the Ballet of Camagüey and of the Folk Ballet of this territory, respectively; and it can be appreciated in the gallery Midas, near to the Trabajadores Square.

Lozano who also is founder of the subsidiary of the Cuban Association of Craftsmen Artists in Camagüey, has achieved magnificent outcomes with other materials like the cord, with the technique of the ¨macramé¨, and the burlap carpets.

His beginnings in the creation go back to 1970, when he kicked off to link to the House of Culture Ignacio Agramonte, and as amateur managed to be introduced in the Sculptors' First National Symposium, with ceramics that today hoards the Ciego de Ávila Hotel.

As professional kicked off a decade later like scenographic painter of the Ballet of Camagüey, for a request of the director of that time of the company Fernando Alonso, Cuban legend of the dance; and there he worked until 2008.

Among his awards highlights the Award Uneac 1985, for the designs of scenery and wardrobe of the ballet “Ante la muralla”, choreographed by Francisco Lang, that they deserved the praise of Eduardo Arrocha, National Award of Theater 2007 and of Design 2013.

Translated by BA in English Language, Manuel Barrera Téllez

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