<p><span>In the diverse landscape of contemporary art, Gregory de la Haba's work stands out for its remarkable depth and range. His subjects, spanning from addiction to mysticism, speak a universal language. Pieces like "The Portal Home", currently showcased at the Larnaca Biennale 2023, unveil de la Haba's artistic vision. In our exclusive interview with him, we delve into the nuances of his craft and the inspirations behind his masterpieces.</span></p>

<p>In the vast realm of contemporary art, few names resonate as profoundly as <a href="https://delahaba.com/">Gregory de la Haba</a>. An American tour de force, de la Haba isn&rsquo;t merely an artist. He&rsquo;s a poignant writer, curator, and cultural figure. Rooted in a pedagogical heritage extending back to the esteemed Jacques Louis Davide, his <a href="https://delahaba.com/work/">artwork</a> encapsulates themes from addiction to the enigmatic Duende, epitomizing raw and authentic artistic expression.</p>
<p>Beyond his evocative canvases, de la Haba's global footprint is undeniable. Through his platform Bodega de la Haba, he's shaped art narratives and collaborated with icons, such as Pulitzer Prize-winner Franz Wright. And now, as autumn shades paint Rome, de la Haba is set to captivate audiences in Europe once again.</p>
<p>De la Haba's latest spellbinding piece, "<a href="https://www.instagram.com/p/CyTX7OMoVuB/?utm_source=ig_web_copy_link&amp;igshid=MzRlODBiNWFlZA==">The Portal Home (Duende MMXXII-VII)</a>," featured in the <a href="https://biennalelarnaca.com/">Larnaca Biennale</a> 2023 under the theme "Home Away From Home," is a testament to his depth. A striking 223cm x 198cm canvas, it is awash with oil, spray paint, wheat-paste, and Krink Marker. Curated by Yev Kravt and placed inside the historic Larnaca Castle, the artwork intricately connects the notion of 'home' with identity and survival. Drawing parallels between the realms of history and contemporary life, it evokes the essence of humanity's longing for home, safety, and love.</p>
<p>But Rome, too, awaits the maestro's touch. From November 2nd to 5th, the Italian capital will host "The Others" &ndash; an avant-garde exhibition platform of Contemporary Art Week. Held at <a href="https://kou.gallery/en/">Kou Gallery</a> and curated by the esteemed Massimo Scaringella, this event promises to be a feast for the senses, blending the new voices of art with the rich history of Rome. This exhibition not only showcases cutting-edge artistry but also hosts an array of meetings and cross-disciplinary events.</p>
<p>In our exclusive dialogue with Gregory de la Haba, we delve deep into the nuances of his artistic process and the inspirations that drive his masterpieces.&nbsp;</p>

<p><span>Legend, myth, and magic are an integral part of the human experience, enriching art and life.</span></p>

<h4><strong>Your art delves into addiction, masculinity, and Duende. How do they intersect in your work, especially given your deeply personal approach to creation?</strong></h4>
<p>Gregory de la Haba: &ldquo;My raison d'etre stems from a deep love for painting and an instinctive belief to walk in the footsteps of giants: Velazquez, Goya, Rothko, Bacon, etc.&nbsp; Art-making is a daily stimuli igniting purpose, agency, to&nbsp; create a fresh and unique visual vernacular. Subjects and themes are drawn from experiences. Fatherhood brought about paintings of my children that zeroed-in on fatherhood. Years spent gambling at the racetracks indulged an addiction to probabilities but did little to enhance the quality of my paintings. It did add color to life that awakened the angels and demons within. And that provided insight and gravitas to my work. And 'duende' because lore, myth and magic are an integral part of the human experience and such ancient things add richness to art and life.&ldquo;</p>
<h4><strong>How has NYC street/graffiti art, especially from areas like the Lower East Side, impacted your perception of urban identity?</strong></h4>
<p>Gregory de la Haba: &ldquo;Simply put, I see the art, the Wild Style writing and grafitti by the likes of NYC pioneers Bomb One (Al Diaz), Easy, Zimad, and Kit 17 as culturally significant, important, and uniquely American as jazz.&rdquo;</p>
<h4><strong>Tell us more about the various art projects under Bodega de la Haba and how they have impacted the development of your creative voice and narrative? </strong></h4>
<p>Gregory de la Haba: &ldquo;Bodega de la Haba was a platform I created to assist in showcasing artists, poets, and writers I found fascinatingly interesting and who weren't necessarily getting the proper shine worthy of their work. From curating shows, hosting literary events in local bars and or writing essays about their art was an enjoyable and stimulating way to meet fellow artists and to truly learn about fine art. A side benefit was that these events became a great networking tool with lasting friendships. But witnessing genuine art firsthand directly from the artist&rsquo;s studios, being schooled by their mastery, is humbling and inspiring and keeps the flame within burning bright.&rdquo;</p>

<p>Great art needs opposition and contrast, thematically and or pictorially.</p>

<h4><strong>Tell us more about the various art projects under Bodega de la Haba and how they have impacted the development of your creative voice and narrative? </strong></h4>
<p>Gregory de la Haba: &ldquo;Bodega de la Haba was a platform I created to assist in showcasing artists, poets, and writers I found fascinatingly interesting and who weren't necessarily getting the proper shine worthy of their work. From curating shows, hosting literary events in local bars and or writing essays about their art was an enjoyable and stimulating way to meet fellow artists and to truly learn about fine art. A side benefit was that these events became a great networking tool with lasting friendships. But witnessing genuine art firsthand directly from the artist&rsquo;s studios, being schooled by their mastery, is humbling and inspiring and keeps the flame within burning bright.&rdquo;</p>
<h4><strong>In "The Portal Home", you blend real-world imagery with artistic imagination. How does this duality fit within Contemporary Art?</strong></h4>
<p>Gregory de la Haba: &ldquo;I think all great art has a proper balance of dueling dualities. Opposites attract after all,&nbsp; think Caravaggio and his magnificent use of chiaroscuro (lights and darks). Great art needs opposition and contrast, thematically and or pictorially. My friend, the painter Marcus Jansen, in his last show at Almine Rech Gallery, London, created an incredible body of work based on the dichotomy of 'Victims and Victors'. Was absolutely stunning. Such dualities lends gravitas to art. And art needs that.&rdquo;</p>
<h4><strong>Your piece at the Larnaca Biennale explores the theme of "Home Away From Home". How does your work delve into the connection between home and identity?&nbsp; </strong></h4>
<p>Gregory de la Haba: &ldquo;Home is where identity is forged, for better or for worse. For many artists, unpacking this identity and revisiting memories of home forms a everlasting and deep structural foundation for their art-making process.&rdquo;</p>
<h4><strong>What can visitors anticipate from your show at Kou Gallery in Rome? </strong></h4>
<p>Gregory de la Haba: &ldquo;Curated by the renowned Italian curator, Massimo Scaringella, the show consists of my latest series, The Telling Panes. These are window-size (window-pane) paintings similar in nature to the larger, Portal Series, where photographic images I&rsquo;ve taken of the grafitti-covered, and sticker-filled doors of NYC are then printed-out on canvas and incorporated as backdrop for the oil painting highlighting that real-world imagery vis-&agrave;-vis imagination. It's some of my best, most powerful work to date.&rdquo;</p>
<p>&nbsp;</p>

Introducing Gregory de la Haba: A Confluence of Art, Emotion, and Legacy

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