Raul Enmanuel  (Cuban, 1958) 


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Raul Enmanuel, La maquina de cocer


Raul Enmanuel
La maquina de cocer

MLA Gallery
Raul Enmanuel, El Germen


Raul Enmanuel
El Germen

MLA Gallery
Raul Enmanuel, La Faraonica


Raul Enmanuel
La Faraonica

MLA Gallery
Raul Enmanuel, El  Volador


Raul Enmanuel
El Volador

MLA Gallery
Raul Enmanuel, Sarandonga


Raul Enmanuel

MLA Gallery
Raul Enmanuel, Simbolo rojo del tropico


Raul Enmanuel
Simbolo rojo del tropico

MLA Gallery
Raul Enmanuel, Senal tropical


Raul Enmanuel
Senal tropical

MLA Gallery
Raul Enmanuel, Lasos fraternales


Raul Enmanuel
Lasos fraternales

MLA Gallery
Raul Enmanuel, La germinacion


Raul Enmanuel
La germinacion

MLA Gallery
Past auction results (1)  View All
Raul Enmanuel, Amuleto


Raul Enmanuel
Amuleto, 1999
acrylic on canvas


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1958   Born in San Luis de Cuba
1976   School for Plastic Arts, Jose Joaquin Tejada, Santiago de Cuba
1976 - 1980   National School of Art, "CUBANACAN," La Habana, Cuba
1980 - 1985   Higher Institute of Art "CUBANACAN," La Habana, Cuba
  Excerpts from an article by Carlos M. Luis:
  It is not by chance that I make a reference of Amelia Peláez as a component of Raúl Enmanuel Pozo’s work. The same should be applied also to Wifredo Lam, with whom this painter maintains close affinities. In spite of the fact that through Enmanuel's process of maturity, he has managed to elaborate a language of his own, his work obeys a tradition that cannot be discarded. In that sense his paintings represent icons that renders homage (consciously or unconscious- ly) to a past that remains in many ways alive in Cuban art. Raul Enmanuel Pozo’s icons originate as images that arise from a past that is being brought to a modern scenario. I refer to a cultural history that saw its first lights in Cuba during the nineteenth century until the present time, passing through the great moment of the vanguard during the first decades of the twentieth century. Raúl Enmanuel Pozo is an actor of an intense artistic process, which has witnessed numerous ramifications inside and outside Cuba, since the advent of the revolution in 1959.
  Let’s enter then, into the world of this painter taking into consideration two concurring points of his work: form and color. Form in the first place gives us the opportunity to recognize different aspects of his pictorial imagination. One of these forms suggests the structures of Cubism, reminding us of ancient dolmens whose volumes weights as sculptures inside his paintings. There is a tendency in some of his paintings to create sculptural elements such as in “Silla de Otra Forma” (2004) or in “El Reposo” (2004). Both of these paintings executed in mixed media, offer us the opportunity to discover his concern with an expression that reaches its peak in the art of Wifredo Lam. In this sense, his debt with the richness of Lam’s world is unquestionable. Every artist is always in the process of assimilation of other legacies, and Raúl Enmanuel Pozo is not the exception to the rule. The question resides though, in how and also through what means an artist incorporates the discoveries of the other, transfiguring it into his or her own. In Pozo’s case I believe that his strategies of assimilation are the result of an acculturation of the different elements that eventually he will place at the disposal of his work.
  If the dolmens are an essential part of his paintings, other forms tend to be converted in totems, as the artist identifies them in paintings such as “Totemico Simbólico”. The totem is one of the most rich and complex manifestations of the so called primitive cultures. The surrealists and along with them Wifredo Lam, felt attracted by the presence of these objects with their carved images representing the history of their clans. On the other hand, from Sigmund Freud to Claude Levi-Strauss, the totem has been the subject of studies of different nature that eventually helped to enrich the poetical arsenal of numerous artists. Whether or not, Raúl Enmanuel Pozo had read these authors is beside the point, since their findings are “in the air” ready to be aspired by any sensitive spirit. On the other hand it is quite possible that he could be familiar with the writings of the great Cuban ethnologist Fernando Ortiz who wrote an important monograph on Wifredo Lam. In paintings like “Son Varias Señales” (2004), “La Familia del Caballo” (2003) or his series “Los Detalles”, we can distinguish both aspects: the cubist structure plus the surrealist poetry acting like a visual palimpsest within the composition. By achieving this, he allows suggestion to prevail over evidence freeing the imagination of the spectator to do the rest.
  I have pointed out three main aspects of Raúl del Pozo paintings related to form. However these forms are created within a rich gamut of colors. It is not my intention to follow the well known stereotypes pertaining “tropical” color etc. Cuban painting had witnessed masters such as Fidelio Ponce or Rafael Blanco that refused to fall into that category while others like Rene Portocarrero or Amelia Peláez made a vast use of all the possibilities offered by color. The expressiveness of Pozo’s color is an indication that he followed the steps of these masters. The way, though, by which he crystallizes them is entirely his personal doing as well as his treatment of textures. What is important in my opinion is that his “ars combinatoria’ with color, succeeds in creating a number of chromatic variations that place him as a colorist to be reckoned with. In that sense his entire opus adds to the already intense developing of Cuban painting, a new and original component.
  Ariticle excerpt courtesy of MLA Gallery.
2007   Elements of abstraction, Gallery on State, Santa Barbara, CA
2007   Outstanding new contemporary artists, LS Contemporary, Los Angeles, CA
2007   Brewery Artwalk, MLA Gallery, Los Angeles, CA, USA
2006   Brewery Artwalk, MLA Gallery, Los Angeles, CA
2005   Contemporary Visions, Audis Husar Fine Art, Beverly Hills, CA
2005   Brewery Artwalk, MLA Gallery, Los Angeles, CA
2005   Crosscurrents, Soho Gallery, Studio City, CA
2004   La Locomotora de mi papa, Canvas Gallery, San Juan, Puerto Rico (solo)
2004   Tropico Profundo, MLA Gallery, Los Angeles, CA, USA
2003   Cuban Artists, Galley Nader, Santo Domingo, Dominican Republic
2003   Brewery Artwalk, MLA Gallery, Los Angeles, CA, USA
2003   MLA Gallery, Absolut LA International Biennial - Art Invitational 2003
2002   Cuban Painters, Naipe Museum, La Habana Vieja, Cuba
2002   Buscando Caminos, Galeria Juan Marinillo, Institute for the Friendship with People, La Habana, Cuba (solo)
2002   Buscando Caminos, Hotel Florida, Colonial City, Habana Vieja, La Habana (solo)
2001   Cuban Artists, Galeria Nader, Santo Domingo, D.R.
2000   Four Abstract Painters, Galeria San Ignacio, La Habana Vieja, La Habana Biennial
2000   Mi Tiempo Vegetal, Casa de Teatro, Colonial City, Santo Domingo, D.R. (solo)
2000   Mi Tiempo Vegetal, Casa de Arte, Santiago de los Caballeros, D.R. (solo)
1999   Acrilicos sobre Telas, Galeria Oriente, Santiago de Cuba, Cuba (solo)
1999   End of the Century Hall, Emilio Bacardi Museum, Santiago de Cuba
1999   Serigraphy Workshoop, 'Rene Portocarrero'
1999   Cuban Painters, Museo de las Americas, San Juan, Puerto Rico
1998   Galeria de Arte Universal, Santiago de Cuba
1998   Galeria Oriente, Santiago de Cuba
1997   Salon 30 de Noviembre, Santiago de Cuba
1994   Galeria Coral, Santa Fe de Bogota, Colombia (solo)
1993   Tropico, Center of Applied Studies, Santo Domingo, D.R. (solo)
1991   Amuletos Recuerdo de mis abuelos, Galeria Oriente, Santiago de Cuba, Cuba (solo)
1988   Dibujos sobre Cartulinas, Cultural Center of Costa de Arte, Burdeo, France, il Festival of Cuban Culture (solo)