YOUNG AND ARTIST: The Infinite Journeys of Adrián Gómez Sancho

Pedro Esquerré gallery, in Matanzas city, recently hosted the exhibition Universos. El Gran Viaje, by Adrián Gómez Sancho. The exhibition once again drew attention to the work of a young creator who has won a spot in arts... in a city of many very good artists. We interviewed him for our series on the creation of young Cubans.

What Journeys can be made from art?

“It's almost unpredictable. I assume they can be infinite. As an artist one can propose multiple trips transferred to circumstances. With the constant participation in different events, the path begins: artistic, traditional, human. Everything is somehow related in one way or another: art opens doors to another dimension.

How does living in an island influence your creation, living near the sea, surrounded by the sea?

- I feel complete. I like to feel that I can create my work in my own country and that I can also exhibit it in other spaces abroad. It’s true that there are difficulties making art. The fact that we don’t have everything necessary for the development of an artistic work sometimes forces us to experiment and innovate. It’s one of the many realities of the Cuban artist.

«The pure air of this island can contain the nostalgia of a time that will no longer return: the time of the artists of the 80s and 90s, for example. I think they lived only to paint, despite the circumstances; nowadays, unfortunately, one paints to live... but it's good that one can live from one's job, from one's studies… sometimes with more, other times with less.

«The development of the art market in this city is closely related to tourism. It’s inevitable to think that the market of craft fairs does not collaborate with the most serious creation. Although being located near the tourist core par excellence —Varadero for example— is not vital for some of us.

«But knowing that there were great artists who belonged to the first avant-garde and who built masterpieces on the island helps to strengthen my commitment, devotion, and respect for art. It’s to acknowledged that here we make good art. The will grows in each project.

«Virgilio Piñera would say: "the damn circumstance of water everywhere"... but the truth is that I could not stop painting, creating... here or on the other shore».

How do you understand what they call 'the social commitment of art'?

The public, which is society, is the great art critic or evaluator, my commitment turns to it. The public needs respect and the best art. I assume this commitment with great dedication, from the beginning of each work.

«In each of my shows a dialogue with the viewer is proposed. My work sometimes shifts towards society, from the poetic, with inquiries about the human figure and that of animal as an almost structural character of the piece, starting from symbolism.

«In the XIII Biennial of Havana 2019, with a branch in Matanzas, it was possible to see the direct contact of my work with the public. The knowledge and respect of those who approached my work Virgen que llega por aguas. This installation marked a turning point in my career and at the same time impacted many people who managed to reach one of the 326 virgins that were given during the performance.

«From experiences like that one is born the artistic commitment to society. And it’s reciprocal, since many decide to belong to my world somehow, and be part of moments of my life as an artist».

What, in any case, should be the main commitment or the main responsibility of the artist?

Firstly, to achieve general stability with oneself, based on one's own work. That comes with daily responsibility. Then will come fullness and commitment to the work, to art. In my particular case, I believe in my time, at least the one in which I live in... I do not hide from reality, and sometimes it prevails. But I try to offer myself to the work and give my body and soul to the canvas or any other support, always with the huge responsibility of knowing that it’s done for real, unfiltered, with total freedom.

«Assuming this commitment greatly influences the development of the work itself... and also, of course, it’s part of my family's livelihood, which is essential.

«Responsibility and commitment we create it; it’s not born with us."

What articulated this recent exhibition? What was your main topic?

This exhibition was the result of a long-term work that took me from year 2020 until its opening on February 2nd, 2023. Almost two years in pure creation, an experimental phase in new techniques that were inserted into the excelled iconography that distinguishes my work today.

«Speaking about the hbrotherhood or friendship with Tony Ávila is to run wild towards authenticity. That black overflows with endless emotions... he decided that my work would appear on the cover and inner pages of his next album and what else could I ask for when it comes to this great friend. The idea was to illustrate his new CD, Universos, under the Bis Music record label. I only intended to recreate the front and back covers, but what each song gave me, each meeting was stronger and I could not afford to miss what it rose in me. So I undertook that journey of making a work for each song.

“It’s really a great project. Not only does it remain on the album or in the pictorial exhibition, it’s also part of Ediciones Vigía, which kindly collaborates in the preparation of a scroll with the theme "Cubas", as well as a songbook that includes some of Tony's songs, and that will soon be launched.

«The concert, the visual artists invited to the exhibition —Adilén Díaz and Erick González Triana—, the musicians… all contributed through their friendship and commitment to Universos, el gran viaje”.

Translated by Amilkal Labañino / CubaSí Translation Staff