Oscar Oramas is a Cuban artist. Since 1995 he has studied and worked in Mexico City. He received his undergraduate degree in graphic design and was then given a grant from the Mexican government to pursue his masters in the visual arts at the historic Academia de San Carlos.

Oramas’s Cuban upbringing comes through in his vibrant paintings. He has a unique blend of tropical pastels and fresh expressionistic brush strokes. His artist statement beautifully captures his unique style. “My paintings are scenarios that connect abstract painting of the great masters of the Fifties with the mystical and romantic tradition of landscape painting. They are atmospheres of a noticeable humanist character,  that contrast resources of modernism with the physical painting of the abstract expressionism.”

His work has been considered particularly “coherent and sincere” for a young artist. Oscar Oramas has exhibited in Mexico, Spain and the United States.



In one of these mornings when you talk and drink coffee with no purpose other than to kill de day´s boredom, came together in a flashing moment Aristotle´s Eleventh Volume of Metaphysics where reference is made to the invisibility of sounds in relation to the cosmos and Oramas´ paintings, which he spread out on his studio floor and that for artistic sake we´ll place in the centre of cosmos. “You have painted the sounds, Aristotle was no right, for the first time they are not invisible”. Oramas smiled, he must have liked the phrase.

Oramas´ paintings, Aristotle´s speculations, apart from each other in time and space, appear reluctant to be reduced to two equivalent paradigms, but around the two circles formed by the two cups of cuban coffee, the ideas and conversations spin without excessive obligations, flushed of the usual rigour and schemes of any effort or imitation of conference, and Oramas continued to scatter his paintings on the floor. He was then talking about his work. He said: I want my works to look more like my my sketches, they are more simple, more sincere”.

The circular element of my coffee cup turned me back to Aristotle: “So, from Metaphysics to madness, from madness to delirium, from delirium to painting, from the paintings to the substance dreams are made of”. Oramas did not seem to hear the juggling of words. He had put down his coffee cup and his words stormed within the orbit of his own circle. He was talking about references, “not mandatory” he stated “but absolutely necessary”.

From his circle and his incessant display of more paintings on the floor, Oramas does not categorically deny a certain affiliations into the art history, pointing out that he moves within the lack of limits of a postmodern aesthetic, mixing patterns and un-drawing the tale-tell marks.

This coming around in full circle was way longer that Aristotle´s; another two rounds of coffee were necessary and they gave me determination to affirm that in his work I saw his motive as mix of gestural and intellectual activity. “I always part from a story, things I read, things I remember, like Filiberto y Rafael, named because of an old friend of the family that used to call these names to every kid, including my brother and me, who are the portrait”.