Gustavo Díaz Sosa

Otoño 2025 y el destino incierto del hombre, 2025

€8,810.00

Técnica mixta sobre papel entelado en lino

146 x 114 cm

We are living through turbulent times, in which the destiny of humankind appears more uncertain than ever in the course of history. On the threshold of a new year, the threats of war persist, and a long succession of grim news - the emergence of new viruses, massacres, violence, and natural disasters - keeps humanity in a state of tension and unease unprecedented in the modern era. This piece, like all my work, is a mirror of the spirit of a humanity exhausted, stripped of hope, and orphaned of its own shattered dreams. A devastated and ruinous city rises on the edge of the abyss: on an unstable platform stand walls and staircases that lead nowhere. Everything seems suspended in an atmosphere of confusion, where reason collapses and faith dissolves into uncertainty. Man, trapped in his own labyrinth, confronts fear, weariness, and the anguish of existence. Is this the end of an era, or perhaps the threshold of a rebirth? Is ruin the sign of the end, or the fertile ground from which humanity might finally awaken and begin its true liberation - its genuine salvation?

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about Gustavo Díaz Sosa

Cuba, 1983

The painter Gustavo Díaz Sosa graduated in Fine Arts from the San Alejandro Academy in Cuba, with a Gold Medal in 2002. The artist Gustavo Díaz Sosa taught painting at the Fine Arts Department of San Alejandro, and came to Spain on a scholarship from Arteleku, San Sebastián. He studied in different engraving, lithography and screen printing workshops between 2004 and 2007 and experienced constant growth in his career up to the present with solo and group exhibitions.

Gustavo represents the rabid contemporaneity that questions essential elements of life to which we cannot find an answer, capturing landscapes inspired by a Kafkaesque gaze in his works. Through his dystopian universes with infinite towers of Babel, he is in charge of breaking down taboos on matters so intrinsic to human nature such as the acceptance of death, faith or spirituality. His first referents and from where Díaz Sosa extracts his 'maniera', freedom, line and stain were Joseph Beuys and Anselm Kiefer.