This essay offers an account of Clara Morera's artistic course, considering the context and quality of her artwork. Morera has been one of the first female Cuban visual artists to formulate a gendered discourse in the plastic arts by making use of the symbolic and aesthetic force of the Cuban religious legacy. The analysis of the artist's work reveals the innovative aesthetic syntax she has developed by approaching, from her own gendered experience, the different cultural legacies that over time have interacted in Cuba and by avoiding any axiological view that would place one over the other.

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