Yanelys Nuñez Leyva
My drawing nearer to the life of “Gonzo,” as he’s known, was due to research on documentary photography that I’m doing in order to graduate in art history.
A brief analysis of his artistic career was enough to recognize the incalculable value of his creations.
All these photographic experiences have been developed with a singular technical and conceptual expertise, always nuanced by the high contrasts of white and black and by the widespread assumptions concerning the “decisive moment” of Henri Cartier-Bresson.
Snapshots of intense drama abound in this photo essay that now marks 12 years since its beginning. His characters, in many cases, appear along with the figurine of the Virgin (the patron saint of all Cuban believers) as faithful devotees with their blessings and prayers.
Gonzo Gonzalez, a photographer who becomes emotional when speaking nostalgically of his friends who have left Cuba, or those who have died, on a daily basis pours all of his sensitivity into these images that trace a map of Cuban identity.
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