René Francisco is an elemental offender. His gateway to the universe of creation is an eminently theoretical procedure about art and life. This has led him to many revolutionary acts. Therefore, rather than being just a topic or an elemental obsession, all his work is held in the basic principles of immediate and devastating action, in the glory of the impact. Nevertheless, let us make clear that his mood is typical of a dissatisfied seditious who is always getting blood from stones. When it comes to painting, he works with a definitely post-conceptual language; he sculpts draws and engraves.
His foray into the universe of the two-dimensional representation has been always tending to volumetric notions, installations or even in-process-art. Therefore, we shall find him tied to a technique combined with the pointillism of Seurat on some occasions, in which the artistic matter is enlisted in a sort of duplicity or stampede. Meanwhile, he bets on a fusion between the stopped and illusionary image of the grounds of painting and the delusions of video installation. He also uses sculpture as an obvious extension of form and matter. It is enough just to remember the insolent concept of painting displayed by him on the unchangeable order of the universe which he has built with acrylic tubes.
Without any doubt he is one of the essential figures within Cuban contemporary art. His efforts, displayed along his oeuvre, and his role as a teacher, have been the translation into the interior of the immediate insular context of the discursive variants of conceptualism. Having deserved the Visual Arts National Award, René Francisco has revealed a particular way to tackle the unresolved conflicts of everyday life, task in which he finds no boundaries or barriers.