José Bedia’s latest exhibition, “Bestiary & Idols,” showcased at Mendes Wood DM in New York, offers a profound exploration of mythology and spirituality through the lens of the artist’s transcultural experiences. Bedia, born in Cuba and now based in Miami, has crafted a body of work that delves into the realms of fauna and mythological beings, drawing from his extensive interactions with indigenous communities across Africa and the Americas.

The exhibition invites viewers into a world where mythological animals and revered idols serve as gateways to understanding the interconnectedness of human and spiritual realms. Bedia’s artistic journey began with his formal training in Havana, followed by immersive experiences within diverse cultural landscapes, including his Caribbean roots, Africa and indigenous communities across the Americas.

One of the exhibition’s highlights is “Bundanga” (2020), a striking piece featuring ochre checkerboard textile from Mali adorned with pictographic figures from Palo Monte, an Afro-Cuban diasporic religion. Through acrylic, textiles, and assemblage, Bedia bridges the secular with the spiritual, aiming to transcend the temporal constraints of contemporary art and reconnect with timeless religious iconography.

The monumental paintings “Mobile” (2022) and “Dos Ídolos” (2022) draw inspiration from the myths of the Seri people of Sonora, Mexico. These works, resembling woven textiles, depict revered animals such as manta rays and leatherback turtles, symbolizing the duality and symmetry in nature. Bedia’s exploration of indigenous symbolism reflects his commitment to honoring traditional cycles of learning and knowing, inviting viewers to contemplate alternative ways of perceiving the world.

Central to Bedia’s artistic practice is the use of half-cosmograms, deviating from Western art history’s conventions to convey cosmological observations and engage in unconventional storytelling. Works like “All the Pretty Horses” (2024) integrate material references from Cormac McCarthy’s novel and Bedia’s childhood experiences in Cuba, celebrating transcultural resistance and recovery.

Bedia’s art is deeply rooted in his syncretic approach to spirituality, informed by his experiences as an initiate and healer in the Palo Monte religion and his interactions with indigenous belief systems across the Americas. Through his visual language, Bedia invites viewers on a transformative journey, drawing connections between diverse cultural traditions and the universal quest for spiritual enlightenment.

In essence, “Bestiary & Idols” serves as a testament to José Bedia’s ongoing exploration of mythology and spirituality, offering viewers a glimpse into a world where the sacred and the secular converge, and where ancient traditions continue to inform contemporary artistic expression.

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José Bedia, Bestiary & Idols (15 March–13 April 2024).

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