Luis Enrique Camejo


Pinar del Río, Cuba, 1971.
1986 He graduates from the School of Art of Pinar del Río, Cuba.
1990 He graduates from the National School of Art of Havana (ENA).
1996 Higher Institute of Art (ISA).
He worked as a professor of painting at ISA from 1990 through 1996.

Solo shows
2012 Vacío (Void). Eleventh Havana Biennial, Havana, Cuba; Malecón, Lonja del Comercio. Eleventh Havana Biennial.
2011 Cities Shared. Shenzen Fine Art Institute, Shenzen,  People’s Republic of China.
2010 Obras recientes (Recent Works). Enlace (Connection), Lima, Peru.
El malecón habanero (The Malecón of Havana). Havana Galerie, Zurich, Switzerland.
2009 Asfalto (Asphalt). Installation. Tenth Havana Biennial. Havana, Cuba.
De La Habana a Beirut (From Havana to Beirut). South Border Gallery, Beirut, Lebanon.
Estaciones (Seasons). Villa Manuela Gallery, Havana, Cuba.
2008 Obras recientes (Recent Works). Yaco García Latin American Art; Legacy Fine Art, Panama City, Panama.      
Vanishing. Pan American Art Projects Gallery, Miami, U.S.A.                                                                                                                                                           
2007 Ciudad Móvil (Mobile City). Godoy World Art Gallery, Madrid, Spain.

Recent Group Exhibitions
2012 Modern and Contemporary Art Heritage Actions. Dallas, Texas, U.S.A.
2011 Urbanitas. Pan American Art Projects, Miami, U.S.A.; Cuban Visions. Metropolitan Pavilion, New York, U.S.A.
El arsenal (The Arsenal). Second Showcase of Contemporary Cuban Art. Exhibition Hall of the Madrid City Hall, Madrid, Spain.
2010 Encuentros (Meetings). Spanish-American Contemporary Art Show. Sala Retiro, Madrid, Spain; Summer. Pan American Art Projects Salon, Miami, U.S.A.
Polaridad Complementaria (Complementary Polarity). Recent Works from Cuba. Traveling to: Newcomb Art Gallery, Tulane University, New Orleans, Louisiana, Sonoma County Museum of Art, Santa Rosa, California, Chicago Cultural Center, Illinois, City Gallery at Waterfront Park, Charleston, South Carolina; Housatonic Museum of Art Bridgeport, Connecticut, U.S.A.
2009 Luces y sombras (Lights and Shadows). Convent of St. Francis of Assisi, Havana, Cuba.
Querido Van Gogh (Dear Van Gogh). Development Center for the Visual Arts, Havana, Cuba. Primary colors. Pan American Art Projects. Miami, U.S.A.
2008 L. Cadalso, Luis E Camejo and R, Mena. Intemporel, Paris, France.
Mi isla es una ciudad (My Island Is a City. Triennale Bovisa, Milan, Italy.
2007 Ninth Cuenca Biennial. Cuenca, Ecuador; Monstruos devoradores de energía (Energy Devouring Monsters). Casa América. Madrid, Spain.
Cosmos. Habana Gallery. Havana, Cuba.
In 2003 he obtained the first prize at the Fifth Painting Contest Nicomedes García Gómez, Segovia, Spain.

2012 Arteaméricas, Convention Center, Miami, USA; Art Monaco, Grimaldi Forum. Monte Carlo, Monaco; 2011 Art Show, Los Angeles; Art Palm Beach. County Convention Center; Arteaméricas, Convention Center, Miami, USA; 2010 Arteaméricas, Convention Center, Miami, USA; Art Madrid, Palacio de Cristal, Casa de Campo, Madrid, Spain; 2009 Art Madrid, Palacio de Cristal, Casa de Campo, Madrid, Spain; Arteaméricas. Convention Center, Miami, USA; Hot Art Fair, Basel, Switzerland.

FIFA, Zurich, Switzerland; Nicomedes García Gómez Foundation, Segovia, Spain; National Council for Plastic Arts, Havana, Cuba; Panama; United States; Switzerland; Italy; Spain; Holland; Lebanon; Canada, France and Cuba.


Sleepwalker, bohemian, to Luis Enrique Camejo the city is also the place where contemporary life occurs and unleashes. Neither its intimacies nor its inner scenes are the motifs that inspire the artist. His interest focuses on the fleeting, immediate relationship of the human being with his environment. Camejo produces images of the city that recall places of Havana. However, his cities never cease to be cosmopolitan and plural spaces. More than gloating over group histories, he gets very excited with capturing the movement, the dynamics of the city, the instantaneous nature of life. The urban landscape returns over and over again in the paintings and water colors, insisting on speed as social premise. Cars, bicycles, omnibuses, occasional passers-by, anonymous characters seem to be always on their way, in a continuous race resulting from a violently agitated reality.
The light plays the leading role in the work. It is the element that composes and amends the rarefied atmospheres of his landscapes, the majority of whose images seem to have a special relation to the aesthetics of the U.S. black cinema. The drawing designs the anatomy of the common spaces, although at times the stain remains emancipated and takes hold of the painting area. Camejo uses – and abuses – of light, curved strokes, of continuous drippings; premeditated resources to deteriorate the sharpness of the images. His cities are always convulsed; they do not urge us to rest, but invite us to lead a nomad life in the huge urban “jungle”.

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