Cienfuegos, Cuba, 1979

In 2000, Aliosky pursued studies at the Oscar Fernández Morera Academy of Fine Arts in the city of Trinidad and then graduated in 2009 with a degree in Scenic Design and Engraving from the Higher Institute of Art in Havana, Cuba. Aliosky is deeply knowledgeable in all engraving techniques, with his work reflecting an interest in the human condition and its conflicts. He perceives man not as a common subject but as a solitary, almost fetishized figure, existing solely for the sake of existence. His creative scope also includes curatorial work and lecturing on Engraving. He has served as the head of the Engraving Workshop Department at ISA.

In the context of contemporary Cuban art, there has been a notable use of techniques, materials, and supports based on "new media" in the graphic production of younger artists. This trend is particularly evident among the most recent generations of graduates from professional art schools, such as the Higher Institute of Art and the Institute of Industrial Design. Their visual language has been shaped under the influence of mass media, the expansion of cybernetics, and computer networks. This has fostered a relationship where the presence of technology in their daily practice involves the integration of digital printing, digital manipulation using various graphic image software, the production of large-scale advertising prints, among other variations, alongside more "traditional" graphic production techniques.

In this context, approaching the work of Aliosky García may seem disconcerting and challenge this trend. His work makes it clear that symbolic production is not a well-defined or stable territory. Despite being a skilled consumer of contemporary symbolic production in any of its forms, Aliosky García has focused his graphic creation on exploring traditional engraving techniques such as woodcut, lithography, and linoleum, primarily. This choice represents a paradox, as opting for strict engraving as a medium for addressing contemporary issues in the 21st century could be seen as a countercurrent move. This stance is sometimes questioned as fundamentalist. Could it be a strategy to prevail in circuits where engraving in its "pure" form acquires an added value of archaeological significance?

The artist turned pilgrim embarks on a journey to a sacred place: the night. Aware of the environment and the body, these nocturnal wanderers stripped of pupils, clothes or belongings, inhabit the space where every hour without light illuminates thought and emotion. With their feet on the island, the less firm ground, or in the water which defines the edges of existence, these beings seek to expand the limits of personal freedom, and allow themselves to aspire, find relief, and enter the paths of self awareness. The search for balance, for the home within oneself, for the connection with the intangible becomes a guide to break down containment walls. With so much to say, engraving is chosen –as a prayer that is repeated– to remove the noises and interferences that allow the creator to extract fears and longings from the wood. Currently, Aliosky lives and works in Minnesota, USA.