Alejandro Gómez Cangas (Villa Clara, 1986) graduated from the "Leopoldo Romañach" Professional Academy of Santa Clara (2005). He later studied at the University of the Arts, ISA, from which he graduated in the painting profile in 2012. He works and lives in Havana, Cuba.

He has made almost a dozen personal exhibitions in Cuba, Peru and Lebanon. He has participated in collective exhibitions in Cuba, Denmark, Italy, Panama, Germany, Switzerland and Lebanon. His works are part of private collections in Cuba, the United States, Mexico, Puerto Rico, Dominican Republic, Peru, Brazil, Peru, Great Britain, Spain, France, Italy, Denmark, Switzerland, Belgium and Lebanon.

A crowd is not a homogeneous mass, as some politicians and economists might think. A crowd – Alejandro Gómez Cangas knows it well – is the confluence of characters, points of view, visuals, backgrounds and dissimilar aspirations, which form a more or less functional, more or less harmonious framework … depending on the call.

The spectator can discover in the works of Gómez Cangas portraits of “real” men and women, because the models that the artist recreates walk the streets, follow their routines, make their lives … The creator photographs them to insert them later, through painting , in new contexts.

Alejandro Gómez Cangas - La Promesa - Coache on Concrete - 25 x 30 cm

Alejandro Gómez Cangas – La Promesa – Coache on Concrete – 25 x 30 cm

Gómez Cangas’s series have sociological, philosophical, psychological implications … as a good part of art, obviously. But here there is an emphasis on a vision that transcends the mere aesthetic vocation: by locating his characters (and himself, sometimes, he is part of the group) in compositions of marked symbolism, which can touch the estrangement, the artist reflects on themes of pressing news: What “moves” the crowds? How do they “move”? Why do they “move”?

But Gomez Cangas, more than the group, seems to be interested in the individual in the group. That is why he insists on identity marks; in what distinguishes, rather than in what circumstantially unifies.


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