Born in 1970 in Trinidad, Cuba, Alexander Arrechea is an influential Cuban artist working between Havana, Cuba, Madrid, Spain, and New York, New York. A founding member of Los Carpinteros, Arrechea was active in the collective from 1992 until 2003, following his graduation from the Instituto Superior de Arte in Havana in 1994. He then began a solo career in which he has been working in the Cuban and international art scenes under pseudonyms and in collaboration with other artists.
Arrechea's art traverses boundaries of public and private spaces. His ouevre spans a diverse set of media and sizes, including both monumental sculptures such as Immanence and two-dimensional lithograph works. The urban is consistently present in his work, in landscapes that feature the man-made world of cities or in his art being placed within that sphere. Use of dynamic line is another significant characteristic of Arrechea's work, which also sees the use of construction materials co-opted for artistic purposes. The artist has fully embraced the technological aspects of contemporary art production with a large social media presence. He does site-specific installations such as Empire State (2013), which was presented in New York City. His work, though not directly political, often deals with social themes such as inequality, cultural disenfranchisement and the contentious subject of the role of arts in a global, media-driven society.
Arrechea's work has been presented internationally, and the broad influence of his work is made evident by its presence in the collection of the CAB Burgos, the Museo Centro de Arte Contemporáneo Reina Sofia in Madrid, the Museum of Contemporary art in Los Angeles, the Daros Collection, Switzerland, and the Museum of Latin American Art in California. Arrechea created NOLIMITS (2013), a monumental project which included ten sculptures set alongside Park Avenue Mall in New York City. Works such as this have caught the eye of international art collectors and investors, and Arrechea has been featured as an artist to watch by The New York Times, artnet, the Art Economist, and ArtNexus.