305: Jorge J. Pérez
Jorge J. Pérez
305 is Fixer Magazine’s dedicated space for honoring the unique photographic perspectives that shape Greater Miami. Here, we recognize those whose work builds a lasting visual legacy, documenting the rhythms, textures, and layered narratives that define the city. These photographers capture the nuances of Miami’s everyday life—the culture, history, and character that lend it a singular identity.
We invite you to explore this curated selection, a testament to the individuals who, through their lenses, chronicle Miami’s distinct place in the world.
Central Park/ Manhattan/New York (2021)
-Where do you think the relevance of this specific work lies?
“To honor, brings honor,” this is how Martí thought about those great men. “He who does not know how to honor the great is not worthy of descending from them.” The cuban apostle is, without a doubt, the greatest figure in our history.
When I began developing this project, it was driven by a personal need to reconnect with Cuba, to find my country within a North American map. Over the years, I not only found Cuba but also discovered a community that has preserved Martí’s legacy.
“Legacy in Stone” not only documents the physical presence of these sculptures in the United States, but it also delves into their role as symbols of resistance, unity, and perseverance in the face of exile and adversity. Its significance lies in its ability to transform monuments dedicated to José Martí into bridges that connect historical memory, cultural identity, and the emotions of Cuban exiles.
Furthermore, by capturing these representations through a reflective aesthetic lens, the work not onl celebrates Martí’s legacy but also invites viewers to contemplate the resilience of a community in search of its identity and its lost homeland.
-What challenges have you faced photographing statues in natural environments?
The main challenge in developing this project has been, first and foremost, locating the spaces where Martí is present. It has been an almost detective-like task that required a great deal of perseverance. Fortunately, I live in Miami, where the largest concentration of the Cuban community in the country resides, and many of the busts honoring Martí are located in the city or within the state of Florida. This has allowed me greater flexibility, giving me the opportunity to visit these places at different times of the day and under varying weather conditions.
However, not all the busts or statues are nearby. Martí’s presence is spread throughout the country, from the West Coast to remote locations like Saint Paul, Minnesota, or Port Chester, New York. This required me to travel to these places and essentially plan each shot in advance, as in many cases, I only had one chance to photograph them.
Many of these monuments are under natural lighting conditions, so I had to analyze their geographical location beforehand: how they were oriented, where the sun rose and set, and what the weather conditions were likely to be. All of these factors had to be considered in advance if I wanted the photograph to be properly represented within the project.
An example of this was my decision when photographing Martí’s equestrian statue in Central Park, New York. The statue is surrounded by vegetation, so I chose to photograph it in winter, when the trees behind it were bare. This allowed me to capture a much more dramatic and contrasted image. Had I done it at another time of the year, the resulting photograph would have been different and likely carried less emotional weight.
-If this project had been photographed in digital format, what would have been the difference in the technical
approach?
At the beginning of this journey, which I called “Legacy in Stone,” one thing was very clear to me: I would complete the project entirely with black-and-white analog film. I knew I wanted a consistent visual style, and my next decision was to use 120 mm film with a 6x6 square format. This format follows a different compositional logic compared to more elongated formats, which allow for more linear compositions. Instead, the square format pushed me to work more with layers within the image, which became a challenge I was determined to tackle.
Now, in response to your initial question, I want to clarify that I don’t consider myself a rigid photographer who rejects digital photography in favor of analog. I firmly believe that both still have their space to coexist.
I think the project would have been very different if I had done it digitally. I probably would have chosen a more horizontal format and faced many doubts during the process about whether the photographs should be in color or black and white. This is because digital photography offers so many possibilities, but sometimes having too many options can create uncertainty, which can lead to visual inconsistencies. For that reason, I’m happy with the decisions I made before starting to take the photographs.
-What role does AI play in visual communication?
Artificial intelligence is here to stay, and we cannot turn our backs on it or pretend it doesn’t exist Today, it is present in many aspects of our daily lives. In photography, we see it in our cameras, with systems for face and scene detection. Then, in post-production, tools like Lightroom and Photoshop already incorporate AI-based features to streamline the editing process.
Additionally, there are applications for image generation. I use the term “image” here to avoid confusing it with “photography,” since, as we all know, photography is generated through light—a key element that is absent when AI creates an image.
The world is changing. This reminds me of what happened with the arrival of digital photography when many believed analog photography had reached its end. However, that was not the case; on the contrary, we have seen a resurgence, with new generations increasingly eager to work with analog photography. I believe something similar will happen with artificial intelligence. I am confident that work done by human hands will continue to hold value. In fact, I dare to say that once this wave of AI passes, handmade work will be even more valued, and artistic creations crafted by human skill and effort will carry even greater significance.
Port Chester/ New York (2021)
-Are you currently working on a new project, if so what is it?
Yes, at the moment, I am writing a series of essays about my personal experiences while working on “Legacy in Stone”, with the goal of including them in a book about the project, where the photographs will be accompanied by these essays. Additionally, I’m working on two other projects simultaneously. One takes place in Miami during my first 10 years living in the city and is titled “Miami 11-21”. The other project is centered on the neighborhood and the house where I grew up in Havana, titled “La Casa de las Losas Rojas”. In these two projects, you can see a side of me that is closer to street photography and documentary photography.
Lastly, I’m starting to develop an idea inspired by a personal anecdote about my father, which will lead me to work on landscapes this time. I’m still deciding on the format in which I want to develop it.
With the maturity that comes with age, I’ve been discovering much more about myself through my work and how I see the world. While my work has been closely tied to Street Photography, I also enjoy creating photographic essays or projects that lean more toward portraiture, like Legacy in Stone. I like to express my feelings and concerns through my photography and ensure that my work reflects, i some way, a part of who I am.
MIAMI TALENT:
SELF-PORTRAIT
JJorge Javier Pérez – Artist Statement
Born in Havana, Cuba, in 1987, I’ve lived in the United States since 2011, shaping my life and photography. My work blends documentary and personal perspectives, narrating experiences and recording Cuban immigration history. Rooted in memory, it explores adaptation, cultural transformation, and identity. Recent highlights include my series Legacy in Stoneat the Foto Canimar Festival in Cuba and exhibitions in Zaragoza and Hialeah. I’ve received awards, including first prize in the Florida Museum of Photographic Arts’ competition. Largely self-taught, I’ve studied at the Roberto Mata School of Photography and attended workshops in Havana and Miami.
