“I don’t have projects. I have needs. Painting is so necessary for me that I can get hysterical and go crazy if I spend too much time without painting or drawing, or without embroidering. Normally when nothing comes to mind I prepare little bits of canvas and draw on them or embroider them...”
Clara Morera, 2011
Clarita begins at the beginning, with a chaotic and promiscuous world. Her first exhibition is a seed, a small chaos looking for bal- ance between primitive and western painting, between symbols and artistic values, between white and black in Cuban culture.
It is painting with a will, despite the obstacles, shortages of mate- rial and space, rudimentary training, and the need for expression.
A struggle with material that resists and submits; violent, cha- otic, elemental painting.
Edmundo Desnoes, 1969
I love Clara Morera’s painting, which is violent and innovative, lyrical and mysterious. It clearly shows African cosmogonies, where she alternates the vitality and the presence of the early times.
Aimé Césaire, 1969
Claudia Clara Morera Cabrera (Camagüey, 1944) came from a rural context to the capital to carry out her artistic project. She studied at San Alejandro and in the 1970s began to show her pictorial work. The experiences of the first phase of her life made possible a valuable cultural formation. Her work has been described and appreciated as poetry, from an anthropological perspective, and from the standpoint of traditional culture. As a founder of popular myths herself, she has recreated them in art through painting, tapestries in cloth, and mixed media assemblages. She works with themes related to the multiple forms of Cuban and Caribbean popular religions, exploring them through syncretic visions. She herself officiates in propitiatory ceremonies to call forth good omens from the Cards or by wielding the Sword of Santa Barbara-Changó in her canvasses
Guillermina Ramos Cruz, 2012
