Edel Rodriguez is a Cuban American artist who has exhibited internationally with shows in Los Angeles, Toronto, New York, Dallas, Philadelphia, and Spain. His recent graphic novel, titled “Worm,” chronicles his boyhood in Cuba. Rodriguez’s clients have included The New Times, TIME Magazine, The New Yorker, and many other publications. His art may be found in many collections including the Smithsonian Institution in Washington, D.C. Rodriguez’s illustrations have appeared in several issues of LMU Magazine.

You are well known for your illustrations that address current U.S. politics, especially your depictions of President Trump. Some of his critics are being prosecuted. Have you paid a price for being so outspoken?

I haven’t had any direct threats from the administration, but I have received some unfortunate messages from his followers and folks in conservative media. Several institutions, like museums or universities, have refused to show some of my work for fear of being targeted. Conservatives on their boards have intruded into the curatorial process, something that had never occurred before Trump showed up on the scene.

You and your family lived through a regime that sought to control images, stories, and public imagination. As an artist whose work now speaks to political realities in the U.S. and abroad, do you feel a sense of responsibility that comes from that history?

Yes, I definitely feel a sense of responsibility. It’s one of the main reasons why I make my work. There were statements made early in the Trump administration such as “the press is the enemy of the people,” name calling, violent rhetoric that mirrored the same phrases used by the Communist dictatorship I experienced. I had a unique point of view, a sense of where it could all lead, and felt it was important to share it.

In your illustrations, you often simplify an image to its most essential forms — color and shape — to make meaning unavoidable. What is the responsibility of visual clarity in a time when freedom and democracy are under attack?

We need to be clear about where we stand in all forms — visual, spoken, and written. All institutions, museums, universities, the courts, the press, etc. need to directly confront what is occurring. I’ve found that the simple use of color and form is the best way to communicate to viewers from all strata of life. Some of my covers have been published without any headline or text. They communicate the idea in a clear and direct manner.

You’ve collaborated with LMU Magazine since 2014, starting with a cover story about the crucial role immigrants play in America’s economy. We take tremendous pride in this partnership. But for you, what has kept you coming back?

LMU Magazine features important stories and does not shy away from publishing clear and direct imagery. It’s the kind of place I want my work to appear! I love working with the art directors and designers at Pentagram in Austin and always jump at the chance to create new work with them.

Your most recent cover for The New Yorker, published right after the November election, depicts Mayor-elect Zohran Mamdani riding the subway with everyday people. What do you hope your next cover assignment will be about?

I’ve been working on some sketches about immigrants in NYC, how they are embedded into the life of the city and how they regularly rejuvenate its vibe. Hopefully one of those ideas will be picked up by the editors. There’s always the possible resignation of Trump. I’ll jump on that cover; a boy can dream!