Sculpting Stubborn: Carlos Enrique Prado Breaks the Mold

In the realm of contemporary ceramics, few artists bridge the gap between classical and modern as sublimely as Cuban-born, Miami-based sculptor Carlos Enrique Prado. His series, "Stubborn: The Way of Sorrows" and "Cabeza Dura," both recently exhibited at the Museum of Contemporary Art of the Americas (MoCAA), challenge conventional depictions of the human figure. Through a unique fusion of classical statuary, religious iconography, and modern industrial materials, Prado’s sculptures convey deep emotional and physical turmoil, intertwined with notions of identity, suffering, and resilience.

As he prepared for his upcoming exhibition in Portugal, I spoke with Prado about his technical artistic process, the philosophical conflicts behind the collections, and the future.

Within the ironic dichotomy of a Zoom call and a scene straight out of Pinocchio, I chatted with Prado through the computer screen. Framed by mountains of sculptures and figures, Prado sat eager on the other side, ready to dive in. But do not be fooled by the classical backdrop. Prado is pushing the future of sculpture, one step ahead of the curve.

His collection "Stubborn: The Way of Sorrows" is an evocative meditation on human suffering, borrowing from classical statuary and contemporary technology. When asked how digital modeling impacted his work, Prado emphasized, “3D modeling allows me to manipulate classical forms beyond the capabilities of traditional clay sculpting alone”. While he had used the technology before, “Stubborn” marked a significant evolution in his approach.

While digital models served as the basis for his initial development, Prado’s process turned aggressively instinctual. He no longer adhered to guidelines, allowing the sculptures to evolve in later stages. While the digital process helped Carlos achieve initial form, it is the physical, intuitive manipulation of the material that truly defined the outcome. Prado’s discovery and integration of various industrial objects—metal rods, blocks, and machinery parts—imbued the clay forms with visceral weight.

"Each object leaves a different impression," he commented. "I attack the clay to mark emotions that can not be expressed in words". Prado noted that it was vital that he impacted the clay while it was still wet to ensure that it remained intact after the intervention. Once the clay was finally fired, the found object was returned to its place, completing the sculpture.

The sculptor’s transition from meticulous pre-visualization to raw aggression parallels the opposing forces in his work. In “Stubborn”, suffering is not preordained by rational thought but a visceral battle against external forces.

The figures, modeled after Greco-Roman references, are deliberately incomplete— often headless or missing limbs. Prado’s decision to remove these parts is both practical and symbolic. Historically, the preservation of torsos in Western sculptures has been due to the natural erosion of limbs and heads, leaving the body as the most intact part. In his series, Prado deliberately chose to remove the heads from his figures, challenging the viewer to focus on the aesthetics of physical suffering rather than the intellectual or individual aspects of identity. The torsos in "Stubborn"—headless and weighted by various found objects—embody a struggle that is deeply personal yet universal.

At the heart of Prado's "Stubborn" series lies a stark contrast between classical beauty and modern brutality. The classical torsos in his work symbolize the ideals of beauty and identity ingrained in him from his upbringing, while the industrial objects represent the external forces that disrupt and reshape ideals.

Prado’s sculptures allude to religious iconography, drawn from his upbringing in Cuba. Prado explained how his early experiences with Catholicism shaped these themes. “Raised in the Catholic tradition, I was taught that pain is a prerequisite for freedom. Many turn to faith to deal with uncertainty and pain. Others turn to other forms of religion - whether art, music, politics, or cinema”.

“I felt very ingrained and well recognized in Cuba for my works. I was a distinguished Professor, had my sculptural works displayed at top exhibitions, and could express myself clearly in my native language. However, when I moved to the United States over a decade ago, I faced a job as an art technician and had a large language shock, which only allowed me to communicate my synthesized concepts with limited vocabulary. Now, thirteen years later, I can reflect and express these personal feelings as an artist,” Prado divulged. Within this grander scope of his personal life, he describes the series as an exploration of the tension between two worlds—his Cuban identity and his life in the United States.

The timeless theme of suffering runs throughout Prado’s "Stubborn" series, but it resonates with contemporary audiences in particularly poignant ways. What excites Prado is that art is partial to the viewer's interpretation. Through his sculptures, he welcomes onlookers to reflect on their struggles and gather the endurance required to overcome them.

Without a head to match an individual identity, the headless torsos evoke an emotional response that challenges the viewer to consider suffering more universally. Prado’s work gives his viewers a challenge - feel empathy for the faceless.

While "Stubborn" focuses on the body’s struggle, Prado’s "Cabeza Dura" series shifts attention to the head—specifically, the notion of hardheadedness. Detached from bodies and suspended in isolation, Prado’s heads carry a stubborn resilience that contrasts with the inflicted torsos of "Stubborn."

“Out of all sculptural anatomy, the head has allowed the most transparency in understanding human nature. As the seat of identity, thought, and resilience, the mind has gifted us the ability to explore our strongest form of nonverbal communication. I separated body and mind to contrast the values we inherited” Prado noted. The heads in 'Cabeza Dura' are not inflicted upon. They resist the external pressures that try to shape them.

Highlighting this dichotomy allows Prado to explore the complexities of identity, particularly in the context of cultural and immigrant experiences. The mind represents a mental fortitude that resists the pressures of cultural displacement and personal struggle. "As an immigrant, I’ve navigated the line between my Cuban identity and my life in the United States," Prado explained. “The heads in ‘Cabeza Dura' are caught between two worlds”.

So while “Cabeza Dura” parallels “Stubborn(s)” thematic exploration of endurance, it prefers to focus its lens on the internal battle, rather than the physical struggle.

The materials in "Cabeza Dura" are integral to the sculptures' symbolic weight. Unlike the bodies in "Stubborn," which are injured by the objects around them, the heads in "Cabeza Dura" resist their industrial encasings. Prado used materials like wood and marble to create tension, both aesthetically and conceptually.

“Practically, choosing blunt and deliberately weighty materials was always my intention. However, each of them holds different nuances and qualities. For instance, marble is a cold medium aesthetically, so I paired it with the dark, black figure to create a sharp contrast.” Prado expressed. Taking out a small-scale model for Cabeza Dura, Prado highlighted that although a found object, such as a tube, may be longer in length naturally, he has no interest in its predisposition. Prado will intentionally shorten or exaggerate the material length to achieve balance. Principles of beauty and composition are in his blood.

The materials demonstrate Prado’s determination to reconcile the opposing forces - surrendering and resistance. Though the heads are encased in heavy, brutal materials, they remain unbroken. They resist, much like the artist himself.

Carlos’s personal immigrant journey is vulnerably displayed. He sees the heads in “Cabeza Dura” as a metaphor for his hardheadedness in rebuilding his life from scratch. The fighting sculptures portray his turmoil in navigating cultural displacement in the United States. Prado smiled as he stated, “I suppose the definitions of hard-headed and stubborn are more nuanced in English than in Spanish.”

As Prado prepares for his upcoming exhibition in Portugal supported by his membership in the prestigious IAC (International Academy of Ceramics), he reflects on how both “Stubborn” and “Cabeza Dura” continue to evolve. "Both are ongoing explorations," he said. As he moves forward, he wants to continue pushing the boundaries of both form and material—whether through digital modeling, new industrial materials, or further distortions of classical forms.

Prado’s "Stubborn" and "Cabeza Dura" collections are not just artistic achievements; they are meditations on human suffering, identity, and resilience. By melding iconic Western forms with contemporary materials and digital technology, Prado creates pieces that feel alive.

Just as summer gives its way to autumn, Prado’s work will continue to evolve each season. But above any changes, the sculptor remains devoted to expressing the personal themes that have defined his human experience—struggle, endurance, and triumph.