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Born in post-revolutionary Cuba in 1987, to a Cuban-Spanish mother and a Cuban American father, Carlos Gamez de Francisco was raised in that small island nation under communism and underwent an art education steeped in the traditions of the Russian Academy. At the tender age of five, he declared his unwavering commitment to become an artist.
His artistry encompasses painting and photography, imbued with rich symbolism and profound sentiments that infused his early childhood and honed into his artistry. Carlos frequently incorporates insects into his work, interpreting the ones that fly as symbols of freedom, those which have fallen as embodiments of chaos, and prone insects as representations of equilibrium. The rich symbolism is engraved in each background to create a tapestry often reminiscent of a Caravaggio.
Renowned for his exquisitely detailed and thought-provoking compositions, Carlos has earned numerous awards and distinctions throughout his career. Notable accolades include Honorable Mentions at the International Color Awards in Beverly Hills, California, and the Tokyo International Photo Awards, as well as prestigious residencies and scholarships from institutions such as the Muhammad Ali Museum and the Art Institute of Chicago.
His work has been showcased in solo exhibitions at esteemed venues including the 21c Museum in Louisville, Kentucky, the Kenise Barnes Fine Art Gallery in Larchmont, New York, and the Colonial Museum of Fine Arts in Havana, Cuba. Additionally, Gamez de Francisco’s art has been featured in prominent art fairs such as Scope-Art Basel in Miami, Art Palm Beach, Art Southampton in New York, and Context Art Miami.
By decontextualizing epochs and artistic symbols, he seeks to bridge the gap between past and present, offering viewers an escape into an illusory world where history is reimagined rather than faithfully depicted.
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I was born in post-revolutionary Cuba in 1987 and educated in an academic setting heavily governed by the Russian Academy. This frame of reference is evident in all my work. To deny my experiences, perceptions, and the impact of history would be disregarding my own existence. These influences are the lens through which I create and the motivation that propels me.
Cuban history has guided me in a variety of ways. On the one hand, it allows me to rethink the way storytelling is part of memories. On the other, it allows me to question the accuracy of history and its recounting. This conflict absorbed me during my early years and continues to engage me as I complete
my artistic education.
Currently, this near-obsession with the past translates into figures, scenarios, and most importantly, the recreation of my own stories.
In Cuba, I was exposed to figurative arts by the presence of the Russian Academy. This presence, as well as the censorship of contemporary art and the limited access to information, was the accepted dogma.
Consequently, I understood that decontextualizing epochs and artistic symbols was the tool I could use to establish a connection between the present and the past. The resulting work provides an escape from reality and creates an illusory world. I am more fascinated by altering history than depicting it accurately.
