Despite the plurality of artistic trends and languages that currently coexist in the Cuban visual arts scene, Mabel Poblet has managed to outline her own discourse, in tune with the issues relevant to her generation. She focuses on a subject who, without wanting to establish feminist stigmatizations, is configured after a woman’s body. She found her own personal formula, an imprint that can be seen from afar, which bears her name and predicts success, as long as unconscious repetition and trite recipes are avoided.
Mabel’s message is not self-referential, although each commentary implies her face, her feet, her hands, her life… Her work is the best concretion of her ecumenical aspirations that come from each suggested metaphor or allegory. It is not the gender discourse the epitome of her reflections but seduction, appearances imposed, and identities built; those are the topics that go through each of her actions. She then takes advantage of those already stereotyped signs of practically immutable values to articulate her speech. That is when delicate flowers, scandalous lips, remarked eyelashes emerge from her pieces. Desapariencia (Disappearance) series is the closest one to this procedure. These are works extended in time that just this year ended, and with no doubt consecrated her as a renowned Cuban artist despite her declared youth.
The photograph serves her as a base, but she prefers to mask it as it is often masked the truth. Then she gives this initial snapshot a creative will resulting in installation, a material complexity that is noticed in the intense red, the sequins, and the excessive brightness. It is pure aestheticism for some. However, behind these apparent visual features, a critical, reflexive, provocative stance is concealed. Mabel is graceful, but her scent is scathing.
Currently the young artist is immersed in a new series, perhaps more intimate and personalized, a result from the experiences accumulated after her travels around the world. Just as traveling artists arrived to America and recorded their impressions in books of drawings and engravings, Mabel has decided to count her journeys through a diary, named by herself Diario de viaje (Travel diary). She has decided to carry out the process in reverse, but stripped of chastity, folklore, and stereotyped visions of the cultures found. She’s resolved herself to this task these days and photography returns to be her main tool. It is the photo in its first utility, made to not forget, compiled for its testimonial value, which Mabel cuts and distributes in large and small circumferences. It is her universe enclosed in a circle and in it lies the subtleties of every tradition, practice or activity lived. In spite of her already proven trajectory, Mabel Poblet prefers to bet on experimentation, the artistic essay, the active work, the tireless research, only so she will strengthen her discourse and consolidate her language.