Napoles Marty (Ricardo Torrebadella Marty) (b. 1982) is a Cuban-Spanish contemporary sculptor and painter. He was educated at the prestigious National School of Fine Arts San Alejandro in Havana, Cuba, and continued his development as an artist in Spain, Denmark, and Italy before establishing himself in the United States. He has been a resident at the Guttenberg Arts Center (New Jersey, USA), Isolo 17 Gallery (Verona, Italy), and Old Furnace Artist Residency (Virginia, USA). Marty has exhibited his works at the 38th Eva International Ireland's Biennial (Limerick City Gallery of Art, Ireland), the 12th Havana Biennial (Deconstruction / Restructuring, Havana, Cuba), and his work is part of the public collection of the Museu Europeu d’Art Modern (Barcelona, Spain). He is currently based in Providence, Rhode Island, but travels frequently to New York, New Jersey, and Denmark.
Napoles Marty’s sculptures focus on the human form, seeking to express humanity in both its strength and its fragility. His work also seeks to provide insight into human relationships and ambiguous interpersonal struggles from a timeless perspective, focusing on the role of bodies as tools of change, power, confinement and control. Marty utilizes bodily forms and organs to express the humor, sarcasm, light-heartedness, and mockery that are often present in these interpersonal relationships. Taking advantage of the nuanced readability of the human form, his figures oscillate between states of power and vulnerability. Skillfully harnessing and subverting classic fonts, the shapes he creates float between the old and the new world. His works draw on classic techniques and materials, seamlessly combined with newer methods and sources. Using means associated with classical and modernist sculpture such as carved wood, clay and plaster, as well as less traditional materials such as stick and hemp casting fiber, Marty builds sculptures which are visually complex, impactful, and often visceral. Many of his works, such as The Fighter or Ghost Couple series, are a perfect example of a complex and ambiguous figures but quintessentially human in its visceral form.
Marty always tries to find himself in his creations, as a man trying to cope with his dislocated reality. Though open to divergent interpretations, his pieces form partly a reflection of his current existence, in which he represents his own displacement, repeated migration, and relational experiences.