Felipe Dulzaides was born in Havana during the early period of the Cuban revolution, a time characterized by collective hope and enthusiasm.

From 2005 to 2009 he taught installation, conceptual photography, and video courses at the New Genres Department of the San Francisco Art Institute.

“Lucky accidents,” economy of means, and a poetic use of documentation, materials, found objects, metaphors and issues of representation are recurring aspects present in his art.

These acts have a repetitive or singular quality designed to create a flow that sweeps the viewer toward some unforeseen artistic destination.

At the end of the one-minute orange's arduous ride, it manages to safely cross a busy avenue through the passing cars.

Video and media curator Rudolf Frieling stated: “Unedited and staged without digital processing, On the Ball presents the visibility of the face as a function of breathing.

In this instance, allowing something to become visible also proves itself to be a dialectic process of obscuring and making clear” Tony Labat, a mentor at the San Francisco Art Institute, wrote about his video work stating: “Mixing and manipulating performance, sound, sculpture and the theatre of the body, Felipe Dulzaides creates hybrid and personal compositions...like songs...riffs...improvisations...poetry in motion.” Dulzaides’ work also explores the correlation between an individual and its context: the city.

The essential is invisible (2005) consisted in the fabrication of an inflatable organ referencing the heart measuring 25 ft. long by 15 wide by 11 ft. high.

It is only with the heart that one can see rightly; what is essential is invisible to the eye.” A matter of perspective (2019), sited on Havana's Malecón consisted of an installation of panels that fragmented the perception of the ocean and the city view.

As Utopia posible developed, so did meaningful friendships with the architects that designed these emblematic and controversial buildings: Roberto Gottardi, Vittorio Garatti, and Ricardo Porro.

The gesture of cleaning grew into a research based mixed media document that captures and reflects philosophies of its authors as well as their struggle to conclude and defend their work.

Recently Dulzaides has joined forces with a team of professionals in building conservation to find ways to conclude and preserve these architectural masterpieces.

A class trip to Havana in 1999 as a student of the San Francisco Art Institute and an artist's exchange program set him on that direction.

Full Circle, is a body of work developed which traces his experience of twenty years earlier in Italy when he abandoned the theater and decided to not return to Havana.

His father was a musician and a mentor that played a key role developing jazz during the early years of the Cuban revolution.