“We are living in an age of apostasy.” This is genesis of Gustavo Díaz Sosa’s expressive universe. Even though the term apostate is usually used to define a person who repudiates their religious faith, Díaz Sosa allocates it to the liberal and solitary attitude with which the contemporary human rejects the historically-established dogmas and stigmas of modern society. He portrays society’s thirst for liberty in a poetic manner. Humanity seems to be shaped at the whim of those in power, but we now live in a time in which we must cut the threads of the puppets we have become.

In his pieces, Díaz Sosa articulates a lost, anonymous, global, surrendered, and desperate society amid a system which presumes to exist as a democracy. His characters run aimlessly, looking only for doors or ways past the monumental walls that keep them trapped in their worlds of bureaucratic and established rules. Like sheep they walk in flocks trying to save themselves from the others. This is why Díaz Sosa creates these compositions where the man is miniaturized in front of the laws and the legends implanted in the roots of the human nature. Religion, myths, politics: these are all tools to remember how fragile the human is in the face of Power.

Díaz Sosa’s work inspires reflection by using certain cinematographic ambiances that remind us of the desperate, absurd fates of Franz Kafka’s protagonists of both The Castle and The Trial.  Simultaneously, he keeps in mind Dostoyevsky and Crime and Punishment, where Raskólnikov sees himself cornered between the paradoxical concepts of good and evil, correct and incorrect, the desired and the not desired.

Gustavo Díaz Sosa graduated from the Academy of Fine Arts, San Alejandro in Cuba. In addition to being a painter, he can also be considered a great thinker, which far from being an Apostle inspires us to the Apostasy.