Mistakes and errors in the architecture of power
Immanuel Kant trusted that the Illustration would liberate the human being from it-self guilty
underage, centuries afterwards, the dependence on tutors and any creature who thinks prevails in
the same ways that worried the revolutionary masses like the Aoidos from Classical Greece. The
hierarchies, the classes and the abuse of all those who govern are some of the issues that
Gustavo Díaz Sosa represents in his artworks, the bureaucratic purgatory in which the
protagonists of his big canvases wander. Faceless people, only coded by their clothing and their
wandering destiny, where walking away from the group leads to get lost, but also to seek shelter in
“If anyone has eyes, let him see!” is the theme that the artist proclaims to the wind, and to which
pieces of the series that have been part of his speech go to, like “From bureaucrats and
godfathers” (“De Burócratas y Padrinos), “Epics of a New Millennium” (“Epopeyas de un Nuevo
Milenio”) or “Hell, according to Dante” (“El infierno, según cuenta Dante”). A continuity better
explained and enriched by his personal experiences, the necessity of transmitting everything he’s
learned from life.
Gustavo bets on an honest and symbolic communication, in which an invisible finger points to the
traces of ideologies wandering around our reality. The highest expression of tutelage is the
institution, being it a politic or religious object, with his taste for labyrinths or the cuts from the train
of thought, the individual initiative.
The work of Gustavo Díaz Sosa is a challenge to that hierarchy in conceptual and formal way. The
academic technique fights for showing in his compositions and the artist maintains it perfectly.
Therefore, we find a conditioned perspective, of a cinematographic character, wide, even distant,
so no voice can go further away from the speech that moves to an infinity of present elements in
Gustavo is a scene shifter in conditions formalism and knows how to take advantage of the
distributive potential of hierarchization. Each one of his artworks is a Theogony where the deepest
stratum is basically composition and the perspective is defining. It follows the atmosphere that
permeates everything, the games of light and shadows. Gustavo trusts in the ‘accidents’ that take
place during the process, for randomness and genius are always walking together in the track of
romanticism and after the necessary exercises of rupture and healing, the training between
potentiality and order, the formalist background gives ground to the spot full of tribulations.
“If anyone has eyes, let him see!” is a call to the action, to grow up and get back the lost virtue of
individuals in the hands of exasperated consumerism and the craving for possession. It is also a
reflection on faith and its manifestations, spiritual and architectonical. The architecture no longer
protects men and women. More likely - it dominates them. Each brick is a response to a question
posed since time immemorial, some answered, many without response, all motivated by a desire
for freedom present versus future promise.