Connecting Cultures:
De Cara al Sol

This October, Photographer Diego Vourakis is previewing his project De cara al sol with an interactive exhibit of ten selected images, hung between the columns of the Water Temple at MUSA. These images are a small selection of what is presented in his debut photobook, De cara al sol.

Although Cubans face inextricable hardships, they remain optimistic and open hearted. This is the essence of De cara al sol. Diego looks to share an honest view of Cuba over a span of three years. Each page reveals an evocative image captured from his time spent with Cubans across five towns layered with his personal reflections, observations, and exchanges with the people he met along the way.

M: What first drew you to Cuba?

DV: “The initial connection I made with the idea of visiting Cuba was through a good friend of mine who had visited the island about 25 years ago. The stories he shared from his experience sparked strong curiosity in me to understand more about their culture and the unique circumstances it faces as a communist country, including the limitations that come with such a system. There is a romanticised version of Cuba, often portrayed with a specific visual appeal as 'being stuck in the '50s' or being a country that feels like 'travelling back in time.' I wanted to understand the complexity of what that meant.”

M: What were you expecting to find versus what you actually discovered?

DV: “While on my first flight to Havana in 2020, I distinctly remember opening a fresh journal and writing down what was on my mind and how I felt about going to Cuba. I expressed my intention to approach this trip without any preconceived expectations, letting the island speak for itself and being receptive to what it had to offer. While I leaned on that feeling, I knew some of the research I did in preparation for the trip did have some influence on me. I also knew Cuba was unlike any other country I've visited before, where resources are restricted. I also knew Cuba was full of life; I just didn't fully grasp what that meant yet.

“As soon as I stepped foot in Cuba, I felt welcomed, with open arms and an enchanting energy that was unlike anything I had experienced before. The excitement Cubans had for sharing their culture was contagious. The more I explored, the more I felt at home—glimpses of feelings like being back in Peru. The depth of what I felt there was unexpected. It felt familiar and just right, quite quickly, I might say.”

M: What styles and techniques did you lean into when creating this series?

DV: “I shot this entire project on film, which added an element of unpredictability as I wouldn't know what I had captured until about 3-4 weeks later when I would return back home. There weren't any specific camera techniques involved; it was quite simple, really. I was mostly trusting instincts of what 'feels right.' Despite how cliché that may sound, this feeling truly guided my decisions. My focus was to stay curious. Stay flexible. And see where my trip would take me and let whatever I was going to do with these photos take shape on their own.

“All I knew was that I was in a very delicate position of making sure that I captured the truth. When it comes to photographing sensitive subject matter like this, I think it can easily become exploitative. The fact of the matter is, I am an outsider. The only way ‘in’ is through trust. Trust came through listening and being intentional about what moments I was photographing, and that it wasn’t just a story of struggle, but resilience.”

M: Does the work have a decisively different look and feel to your other work?

DV: “The nature of this project is very different from my previous work. Despite the journalistic approach, I still see a significant influence from the editorial work I've done in the past in these images. I think they complement each other.”

M: What are the stories people can connect with when looking at this series?

DV: “My intention when putting together this book was to communicate through image and story. The book is written like a journal. The people I photographed I created an undeniable bond with. I wanted to capture their stories through their expressions and have these images be vignettes into their lives. My journal entries are light on purpose because while they represent my thoughts at that moment, I wanted the weight of the storytelling to be done through the images themselves - to provide spaces for readers to respond to them in their own way. I hope people have an emotional connection through these stories and hopefully initiate conversations and actions for individuals to take on their own and share further.”

M: In what ways do you think this series reveals something new about people's understanding and knowledge of Cuba and its community?

DV: I think De cara al sol highlights the human experience of being Cuban today through an extensive exploration of the island and its people. My aim was to highlight the goodness, the light, and the spirit of Cuba. I wanted to showcase the positive aspects of their community but not neglect the realities. I believe Cuba is a country that isn't fully understood by many. When you think of Cuba, most only scratch the surface of the situation; they recognize its complexity, but there's no deeper exploration. I wanted to encourage people to learn and be curious, to explore more themselves.

M: What are you hoping people feel and learn when engaging with the exhibition?

DV: “When I was in Cuba, every interaction felt suspended in time. There was nothing else I was thinking about… meetings, plans, things I had to do. The only thing in focus was the person in front of me and the moment we were having.

“By design, this exhibit was meant to mirror that same feeling. From the way the art is hung, to the large formats, and to the quietness the Water Temple provides. My hope is that this immersive format inspires people to be still and present, and that it gives them the space to reflect on whatever feelings come their way. Most importantly, I hope this glimpse of the Cuban spirit leaves a lasting mark on them the way it did on me.”

M: How is MUSA the ideal location for this experience, and how have you built the agenda and programming to tell your story?

DV: “When I was first presented with the idea of launching this project at MUSA, it felt right. MUSA is a place where everything is stripped down, located in the heart of the jungle, putting you in a state of connection with yourself. That’s really hard to achieve in the city. People are coming and going, there are so many distractions. When you come to MUSA, you are there to experience everything fully and really surrender to the moment.

“The programming we've designed pays homage to Cuban culture and provides a multisensory experience that invites you to engage, question, and converse. We have been working carefully to curate a weekend that immerses you in the essence of what the book communicates: genuine human connection.”