"Observe Lotti’s radiography of the “efichensi” (a vernacular pronunciation of efficiency), that affordable living space that has become the door to the American dream for many immigrants and crucial to understanding the sociology of Cuban-American immigration; or Miguel Saludes’ pixilation and augmentation of reality, enlarging the American landscape, from a field of flowers to a concrete wall, scrutinizing the surrounding, processing its dualities to the limits of abstraction until digested into a totally new identity; or Labañino’s contractile reality that merges different points of view into the same plane, allowing blurred memories and details to coexist in the same space. These three artists are crossed by their hyphenated identities, Cuban-Americans belonging and bonding like most of us, challenging traditional painting to express their personal journey into a new ecosystem, a journey that we are from now on thankful they shared with us."
Joaquin Badajoz | Manhattan | 2017
"Jefreid Lotti's ongoing body of work is preoccupied with the content of identity. Growing up in two worlds, Cuba and the United States, he is conscious of being torn between two cultures... In series like Efichensi, (the Spanish enunciation of the word efficiency) he depicts the most commonly forgotten aspects of an immigrant’s life. An illegally-rented room that provides affordable living space, the efichensi acts as a machine for the dweller to reach their version of the American dream. Although initially seen as an uncomfortable passage that narrates the struggle of immigration, the Efichensi paintings have become a homage to a forgotten space, a catalyst of dreams where all success stories begin. In other series like Llantos (or Lamentations), Lotti shifts his gaze to subjects like his mother, whose portraits have become a recurring motif for expressing deep emotional concerns such as sorrow and empathy. Lotti’s broader work lays a critical eye on popular American society, which the artist perceives is being carved out by superficiality, self-absorption, technology and divisive politics."
Sérverus | Miami | 2016
"Lotti’s impressive series of monoprints, many using a large painter’s palette as a plate, bring us into the an arena of the unconscious where symbols do battle with they’re alleged meanings. The locomotive, the sea, the moon, even the figure are made to confront the greater force of what they mean. It is a rebellion of signifieds against the signifiers. Eros, anger, annihilation, despair are loosened upon the visual icons and dreamt codes that evoked them for millennia, but no more. "
Ricardo Pau-Llosa | Miami |2012