Carlos Sanjurjo (b. Cuba, 1954)
If you want to survive on the swamp, you’ll have to be friend the crocodile.
The central idea of this series is based on my personal observations that have made the Cuban immigration to the US so unique. These unique differences consist of the creation of an artificial paradise known as Miami. The integration of Cubans and Latin culture all over the United States and not to mention the character and humor of my compatriots.
My work has developed over time in tandem to my profession as a public school’s art educator. Considering that I am very grateful to the public school system for having allowed me to do some of my first shows and projects throughout these channels, the participation on solo shows have been of the least interest to me because the critical focus of my work follows my attention to observe closely social realities that are in constant flux. It wasn’t until these last couple of years that a more essential and concrete phenomenon had caught my attention. Subjects pertaining to the idiosyncrasy of the Immigrant identity and folklore all of which have been taking place in the context of a city as craven as Miami. A destination of complete relax under it’s palm trees, of the frivolous and the exotic. A place of large masses of people, a place charged with Latin sensuality and strength. Home of Scarface and the Bird Cage. South Florida is considered amongst many things as the capital of the sun, at the mercy of fraud, lies and unscrupulous people. Full of nostalgia, a dash of vulgarity and highly artificial kitsch decor.
Carlos Sanjurjo, Pedir agua por señas, 2017, mixed media on canvas, 30 x 40.”
Carlos Sanjurjo, Hand painted ceramic, 2020, 15” ø.