Juan Carlos Alom is a strange mix between a gypsy and a maroon, and is at the same time a cultivated artist and a street-smart man, a restless, fidgety spirit, difficult to grasp, define or characterize. His essentially drifting personality has allowed him to feel at ease in both the vortex of big cities and the solitude of mountains.
In Tarjetas Postales, Juan Carlos Alom has made a fake ethnography of slavery. Two friends from his neighbourhood have lent themselves to the experience and posed with an improvised yoke around their necks, like the yoke that slave traders placed on their "goods" to prevent them from escaping during their transfer from the slave ship to the square where they would be sold. The artist creates the illusion that this is an old photographic document, but in leaving the small earring that shines in the ear of one of the models – a hardly perceptible detail – he commits an intentional anachronism that reveals his true intention: to make us discover the present, the contemporaneity of the image, the situation and those depicted. Perhaps slavery has returned to his own neighbourhood in today's Cuba? Is racism a new form of slavery, as heavy and bothersome as those ancient yokes? The image is a forceful critical comment on the current situation of black people in Cuba, who continue to bear different forms of oppression by reason of their skin colour and that not even the distant abolition of slavery, or the improvements achieved by the revolution and socialism have been able to eradicate completely.