Samuel Gomez (b.1975-) Diaphragm, 2015 Graphite and ink on paper. 27 x 26 inches Frame: 36 x 36 inches ‘Diaphragm’ traces back to the philosophy of ‘Humanism’ back in the 14th century when the development of human virtue transcended the need for divine authority. In a contemporary twist, the ‘Vetruvian Man’ from Da Vinci, is seen as the source of an unknown mechanism evolving and expanding without control. at Manolis Projects gallery
Samuel Gomez (b.1975-) Diaphragm, 2015 Graphite and ink on paper. 27 x 26 inches Frame: 36 x 36 inches ‘Diaphragm’ traces back to the philosophy of ‘Humanism’ back in the 14th century when the development of human virtue transcended the need for divine authority. In a contemporary twist, the ‘Vetruvian Man’ from Da Vinci, is seen as the source of an unknown mechanism evolving and expanding without control. at Manolis Projects gallery
Samuel Gomez, Diaphragm, 2015 Graphite and ink on paper. 27 x 26 inches Frame: 36 x 36 inches ‘Diaphragm’ traces back to the philosophy of ‘Humanism’ back in the 14th century when the development of human virtue transcended the need for divine authority. In a contemporary twist, the ‘Vetruvian Man’ from Da Vinci, is seen as the source of an unknown mechanism evolving and expanding without control. at Manolis Projects gallery
  • Load image into Gallery viewer, Samuel Gomez (b.1975-) Diaphragm, 2015 Graphite and ink on paper. 27 x 26 inches Frame: 36 x 36 inches ‘Diaphragm’ traces back to the philosophy of ‘Humanism’ back in the 14th century when the development of human virtue transcended the need for divine authority. In a contemporary twist, the ‘Vetruvian Man’ from Da Vinci, is seen as the source of an unknown mechanism evolving and expanding without control. at Manolis Projects gallery
  • Load image into Gallery viewer, Samuel Gomez (b.1975-) Diaphragm, 2015 Graphite and ink on paper. 27 x 26 inches Frame: 36 x 36 inches ‘Diaphragm’ traces back to the philosophy of ‘Humanism’ back in the 14th century when the development of human virtue transcended the need for divine authority. In a contemporary twist, the ‘Vetruvian Man’ from Da Vinci, is seen as the source of an unknown mechanism evolving and expanding without control. at Manolis Projects gallery
  • Load image into Gallery viewer, Samuel Gomez, Diaphragm, 2015 Graphite and ink on paper. 27 x 26 inches Frame: 36 x 36 inches ‘Diaphragm’ traces back to the philosophy of ‘Humanism’ back in the 14th century when the development of human virtue transcended the need for divine authority. In a contemporary twist, the ‘Vetruvian Man’ from Da Vinci, is seen as the source of an unknown mechanism evolving and expanding without control. at Manolis Projects gallery

Diaphragm, 2015

Samuel Gomez
$25,000.00
$25,000.00
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Samuel Gomez (b.1975-)
Diaphragm, 2015
Graphite and ink on paper
27 x 26 inches
Framed Dimensions: 36 x 36 inches

‘Diaphragm’ traces back to the philosophy of ‘Humanism’ back in the 14th century when the development of human virtue transcended the need for divine authority.

In a contemporary twist, the ‘Vetruvian Man’ from Da Vinci, is seen as the source of an unknown mechanism evolving and expanding without control.

Born in the Dominican Republic, New York artist Samuel Gomez's meteoric rise began with his inclusion in the 2013 ArtPrize Competition in Grand Rapids, MI, his first showing in any public forum. Samuel Gomez received a BFA in 2001 from Parsons School of Design in New York. 

Gomez’s steampunk aesthetic is marked by an extensive usage of universal symbolism and contemporary themes of science, socioeconomics, sustainability, and, prominently, the future of automation and AI. His paintings are of dystopian themes.

The self-proclaimed storyteller's ominous scenes are so dense with imagery and symbolism, they beg the viewer to lose themselves in their interconnected, multi-dimensional depths. Gomez shows a society that has been led astray by corporations, capitalism and over consumption. “I question a world where all events and affairs seem systematic and guided,” says Gomez.