Raphael Díaz, in this body of work, has brought all of us, unwittingly or not, into the innermost sanctum of his life. Here, in this series of paintings, Raphael brings to the World many burning questions from his sleeples nights; questions that carry with them matters of religios faith, predestination, love and perhaps lust. These paintings, even the portraits of the twelve women, are a series of self-portraits or, perhaps better stated; portraits of the self. They are a reveling visual confession, a self admonirion of sorts, a tempting of fate on the artist´s part. At this juncture, Díaz has entered a realm of social taboo in betraying the unwritten trust one assumes to be understood in the intimate moments shared between lovers. With this exhibition, comes finality.

      Raphael Díaz incorporates metaphoric symbolism throughout this suite of paintings and assemblages that is analytic of his childhood faith and Cuban roots; both elements predominate in his very psyche to this day. The Virgin appears in these works, accompanied by negative titles such as "Stop", "Dead End", or "Do Not Enter". The titles, written in a reversed, mirrored fashion, not only bring to mind the torment felt by Leonardo da Vinci in hiding his innermost secrets of life, but as well to indicate an artist looking outward from within his own eyes.

      Beneath these works are the "Boxes", vestiges of loves lived and shared. They are filled with antidotal relics, windows so to speak, into a personal spiritual sagacity; and/or love recollected. These boxes, cubicles reflected in the paintings above, may hold within their contents the clues and answers as well as many questions. But are we read into them or are the questions raised best left unasked rather than merely unanswered?.

      In these works, the artist himself is, at times, restrained in a walled compartment; at times he is on the peripheral edge of that compartment, fearful of looking in. Is the artist in these situations imprisoned, trapped or awaiting a rebirth from a callous, cubical womb? Are these ponderings also best left implicit, understood only through the artist´s visual dialog?.

      The Virgin, to whom Díaz openly admittedly prays daily, is present in these images. Ironic as it may be, the very work deals with sexuality and the circumstances it brigs. While he seeks her protection, she may, in the end, offer only a scolding. "Self-esteem... personal worth", these are the words that emerge from the mouth of the artist as we speak in his studio weeks prior to the exhibition. Raphael´s innermost expressions have been brought to the canvas through his brush. These paintings and his use of color and imagery are the result of a dynamic inner-dialog the artist has with his work. They are the result of self-examination and the very act of life itself.

      Díaz paints as many would passionately gestur while conversing with a close friend about deep, personal concerns. The Virgin is there to weigh these internal debates. Spears surface in these works; one is fondled by a female figure in a sensual fashion. She is anonymous to us but well known to the artist. The balance between pain and suffering, love and anger is brought to mind. This scenario, a scenario known by the Virgin only too well through her suffering, is perhaps also a puzzle never to be solved in one lifetime.

      We can not but notice that the artist has rendered within these paintings an unstable ground. A ground upon which these cages, these cubic isolationistic compartments are build. This is, in itself unsettling, yet another vantage for investigation. While he has used this visual devise in much of his prior work, it does not grow tiring to the viewer. This motif may well be in the paintings of this artist for life. Perhaps this disturbed ground is the fertile soil thar is the nourishment from which this artist receives his inspiration. Perhaps the exhibition is summed up in one painting; "SelfPortrait 34". In this painting, bright with the yellow of a caution sign, Díaz invite us to see what appears to be an artist, bare to the skin; exposed in his vulnerability. At the same time, his hand is outreached in unison with the background in a warning of caution. We are left with the ultimate decision; do we enter this world or turn away?. I have chosen to enter and suggest you do the same.