Johannes Boekhoudt

Curaçao

Johannes Boekhoudt (b. 1966, Willemstad, Curaçao) is a Dutch expressionist artist best known for his distinctive cross motif. Raised in Bonaire before immigrating to Costa Rica in 1973, he embraced Latin American culture. Initially a commercial pilot in Costa Rica and the U.S., he shifted to art after the events of 9/11, realizing his passion lay in creative expression.

Boekhoudt’s work blends figurative and abstract elements, drawing influence from Basquiat, de Kooning, Miró, and Picasso. His signature style—characterized by bold brushstrokes and cross imagery—was first recognized in New York, where a private auction dealer encouraged him to develop the technique. His work addresses human rights, social justice, and political instability, tackling issues such as child abuse, domestic violence, and organ trafficking.

In 2005, during Houston’s mass evacuation from Hurricane Rita, Boekhoudt relocated his family to Costa Rica, where he began painting large-scale works. He exhibited at the Calderon Guardia Museum and held solo exhibitions throughout Central America and the Caribbean. In 2012, he returned to the U.S., moving to Austin before settling in Dallas to immerse himself in a larger art community.

As a journalist artist, Boekhoudt documents global social issues, using art to inspire change. He is also a philanthropist and art collector, frequently donating his works to charity auctions benefiting children and social causes. In addition to paintings, he creates mixed media works and sculptures from wood and old clock pieces.

Boekhoudt’s dedication to his craft has earned him international recognition. Despite challenges, he continues to evolve, constantly developing new projects. Now based in Texas, he remains committed to using his art as a powerful voice for social justice and human rights.

WORKS

Niños del Futuro

2023
Oil on canvas, 20″ x 16″

The Other Side

2022
Oil on canvas, 20″ x 16″

CARLOS GAMEZ DE FRANCISCO

Cuba
Based in Florida

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.