Havana (Cuba), 2018

Thirty-six bodies rise in a gesture that challenges history. Vitrubie, a work by Glez, is a critical rereading of the classical canon that once claimed to define perfection, symmetry, and universality. Here, the ideal figure is no longer singular or male it multiplies, expands, becomes many.

Inspired by the Vitruvian Man, the piece dismantles that model to reveal its exclusions. The use of e in the title is not neutral it’s a gesture of disobedience and openness to other bodies, other narratives. At the center of each circle, Glez places women and trans women living in Havana some of them shaped by marginalization, violence, or sex work now reclaiming the very space that once denied their existence.

Each figure is an act of affirmation. The work does not idealize; it reveals. It speaks of bodies marked by time, but radiant in resistance. Geometry becomes political: what was once proportion is now presence. What was once norm is now undone.

Vitrubie is, at its core, a gesture of repair. A visual and emotional archive of what has been ignored. A choreography of bodies that, from the margins, claim the center. Through this work, Glez transforms multiplicity into principle, and difference into a powerful act.

Charleen Capote