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Alberto Gómez was born in Bogotá, Colombia on December 12, 1956, the second of seven children. Mother was Alicia Gómez and Father, Luis Horacio Gómez. Alberto became a U.S. citizen on July 29, 2011 through the Individuals with Extraordinary Ability or Achievement Visa.



Escuela de Artes Plásticas (School of Fine Arts) Universidad Distrital (District University Francisco José de Caldas) of Bogotá.

  • Studied Liberal Arts, intellectual currents of the day, including aesthetics, politics and the human condition. 

  • Often attended seminars by Latin American and International speakers

  • During this time, he worked and studied in the studio of the artist Jaime Castillo.


When he left Bogotá for Venezuela, he continued his studies at Colegio Universitario de Caracas and worked as a monitor and student of Manuél Reyes Navarro in Barquisimeto, Venezuela.


Mostly a figurative artist, he is a master painter and master printmaker, well known for his monumentally scaled murals in the United States and Colombia.  His works can be found in many public and private collections, as well as museums all around the world.


From 1975 to 1981, Gómez worked in Colombia and Venezuela as a freelance designer, typographer, illustrator, and graphic artist. It was during this period that Gómez became interested in painting large murals; he began painting in 1979.


His first solo exhibit was in 1981 at the Ateneo Popular in Guanare, Venezuela. Also, during this year Gómez returned to Bogotá where he accepted positions as Professor of Art History and fine art drawing for CIDCA (a regional college in Bogotá) for twelve years. Concurrently, he conducted classes and workshops at Universidad Pedagógica Nacional de Colombia in advanced color theory, textural representations in painting, anatomy and painting technique. He subsequently spent most of 1986 at the Archivo General de la Nación (the National Archive of Colombia) in Bogotá, conducting research on the History of Art in Colombia.


Since 1997, Gómez has lived and worked in Deltona, Florida, a community of just over 93,000 located between Orlando and Daytona Beach. In all, he has had over 100 exhibits in Colombia, Venezuela and the United States. In March of 2002, he presented his portrait of Florida's First Lady, Columba Bush; was named Artist of the Month by The Orlando Museum of Art; and was selected to receive the Simon Bolivar Prize as "Central Florida's Best Latin American Artist." 


In a career spanning over forty-one years Alberto Gómez has achieved recognition for his murals, paintings, drawings and printmaking editions, with exhibitions throughout Latin America and the United States. His art is collected by many museums, major corporations and private collectors. He has created 32 murals in Washington DC, Michigan, Florida, and New Mexico. Much of his early work can still be found in highly visible places in Bogotá, New York City, Washington D.C., Daytona Beach, DeLand, Port Orange, Miami, Midland, Lubbock, Santa Fe, and Orlando. In Central America his work is found in private collections in Panama and Mexico. Prior to his move to the U.S., Gómez was well established as a prominent artist in South America and his works can be found in many private and public places there.


He is married to Luz Stella Barrios Gómez, has four children, Oliver, Jean-Paul, Leonardo, and Shaía; and one grandchild, Yaiko.


  Selected Solo and Group Exhibitions

  • Orlando Museum of Art. Orlando, FL

  • Ormond Memorial Art Museum and Gardens, Ormond Beach, FL

  • DeLand Museum of Art. DeLand, FL

  • African American Museum of Art. DeLand, FL

  • ArtPrize. Grand Rapids, MI

  • NASA. John F. Kennedy Space Center. Titusville, FL

  • The Pentagon, Washington, DC

  • The State Capitol, Tallahassee, FL

  • Consulate of Colombia, Miami, FL and Orlando, FL

  • Orange County Administration Center, Orlando, FL

  • Orlando City Hall-Terrace Gallery. Orlando, FL

  • Orlando City Hall-Mayor’s Gallery. Orlando, FL

  • University of Central Florida. Orlando, FL

  • Seaside Music Theater. Daytona Beach, FL

  • South Daytona City Hall. South Daytona, FL

  • City Arts Factory. Orlando, FL

  • Artist’s Registry. Orlando, FL

  • Osceola Center for the Arts. Kissimmee, FL

  • Pioneers Settlement for the Arts. Barberville, FL

  • Albertson-Peterson Gallery. Winter Park, FL

  • Gallery 108. Miami, FL

  • Ana G. Méndez University. Orlando, FL

  • Deltona Arts & Historical

  •  Center. Deltona, FL

  • Dr. And Mrs. Jose Carlos Cruz’s residence. Lubbock, TX

  • Public Libraries: Volusia, Orange, Seminole and Osceola counties


  Selected Permanent Collections

  • Volusia County Courthouse. DeLand, FL

  • The Daytona News-Journal. Daytona Beach, FL

  • Partners of the Americas, Washington, D. C.

  • Daytona International Speedway NASCAR. Daytona Beach, FL

  • Universidad Distrital. Bogotá, Colombia

  • San Andrés Hospital. San Andres Isla, Colombia

  • Fish Memorial Hospital. DeLand, FL

  • Boys and Girls Club. Grand Rapids, MI

  • The Epiphany Catholic Church

  • Elementary, Middle and High Schools from:  Deltona, FL; DeLand, FL; Orlando, FL, Apopka, FL; Sanford, FL; Daytona Beach, FL

  • Deltona Regional Library

  • Hope Community Center, Apopka, FL

  • The Hispanic Chamber of Commerce. Orlando, FL

  • Daytona Beach, Juvenile Detention Center. Daytona Beach, FL

  • National Dance Institute. Santa Fe, NM

  • The American Cancer Society. Pinellas Park, FL

  • Banco Popular. Orlando, FL

  • Thomas C. Kelly Administration Center. DeLand, FL

  • The Artists’ Fellowship-New York Grant. 2007

  • Individual Artist Professional Development Grant. DeLand, FL. 2006   

  • Department of State-Partners of the Americas Grant. 2001   


Alberto Gómez is often likened to modern day Michelangelo. His countless paintings, murals, drawings and prints stand apart from other painters of this day, visually, but also with the stories they tell.

Gómez’s “truth” in life is love and loss combined with hope, faith and joy. He showcases this truth in his large-scale works, baring his soul over and over again, while giving us, his audience, a glimpse into our own lives as well.

Sometimes we hear lyrics from a particular song and wonder how the songwriter knew what we were going through. This is how it feels to look upon Alberto’s work.


Barbara Tiffany

Curator, Crealdé School of Art


Alberto Gómez is a living, working painter, printmaker and muralist. His story is, to grossly understate it, unusual. He has been a naturalized American citizen for nine years as of this writing in July, 2020. This is a worthy achievement, though nothing to compare with abandoning in 1997, an established and respected artistic career in Bogotá, Colombia, to forge a new path. He and his family flew to Miami, stayed briefly in West Palm, and settled into their home in Deltona. They had withstood what would be a volcanic eruption in anyone’s family life and managed it with grace.


Shortly after his arrival, Alberto was introduced to Tippen Davidson, the late publisher of The Daytona News Journal who would become a collector of Alberto’s work. A politically sophisticated, culturally enlightened man, Davidson’s support and promotion of Alberto Gómez would last a lifetime. The relationship was, of course, empowering; it freed Alberto to conduct a life in art in a suitably principled way.


Responsibility is an attitude that resounds in Alberto’s work. It is presented with clarity as for instance, in his depictions of children. That they interweave throughout his paintings as a recurring theme is obviously intentional. They appear in his work as fear and hope, creativity and wonder, and certainly, possibility and imagination. All of these potent characteristics of life are conveyed by their presence, without requiring them to be anything but children.


The same can be said of every human condition, each historical event, all of this artist’s visual essays, expositions, reflective musing – fancifully, every branch, twig and leaf one sees in his work declares its own existence to be indispensable. Alberto Gómez, for better and worse, presents the world to us, as he hopes will see it – it is as it is and as exact as he can make it and, inevitably, every message resolves as explosively joyous.


Alberto has returned recently to the panoramic format of mural painting. It was a feature of his early prominent work which began with his mural Caldas Tutelar, commissioned in Bogotá to commemorate the life of a much admired progenitor of higher education. Alberto has, over time, expanded its purview to provide for a means of cultural consciousness-raising. He is an urgent advocate for the lives of marginalized people and especially for children at risk. The mural allows him to elaborate on the distressing and the delightful in life, one topic at a time. The outcome benefits powerfully from his focused approach. Still, he declines to dwell on seemingly fashionable disillusionment, indifference to the disparities of cultural inclusion. In the art of Alberto Gómez, we still find incontrovertible certainty that affirmation can be the only way forward.


Richard Mark Johnson


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