By Irina Leyva-Pérez
If we look back at Gustavo’s oeuvre over a span of twenty years, we can easily recognize that he has been interested in social expressions of power. In the 1980s, when his work started receiving attention, he was using metaphors of Roman architecture as a reference to the Cuban social system. The dark, gray and muted colors were intentionally placed to reinforce the atmosphere of oppression that he wanted to convey. By representing some of the most recognizable buildings in Roman architecture, he drew a subtle parallel between the Imperial Roman and Cuban dictatorships.
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