José Ángel Vincench’s oeuvre is gregarious to a complex anthropological analysis of Cuban society. His conduct respects the conceptualist orthodoxy programmatic guidelines and builds up the corpus of a reflective exercise, oriented from a socio-psychological side. He alludes to the universe of the popular religion since it constitutes the first escape route of collective subjectivity in the solution of the everyday difficulties. Thus he sees a displacement of figures and functions in which the divinity provides the illusion and the security of the future before the insufficiency of the rational logic and its devices. From this movement of direction, he analyzes the immediacy of huge contingencies, shortcomings and beliefs, scarcity and disincentives.
He never alludes in his representations to the mystical space as a special place of experience; on the contrary, he finds it a common, quite traveled place and of overwhelming nobility. It is a platform from where the sociocultural issues are seen in a different way. It is precisely the perspective on the world framed from these lands what the artist explores in his productions. His speech is revealed between the scientific and the poetic sides.
In recent years he has come to the universe of painting, and after the synthesis of his original motives, he has flirted with abstraction in an unorthodox way. He conserves his critical impetus and gives to it dexterity and visual elegance. Proverbial and simple, and now subtler than ever, Vincench goes beyond clichés and schemes to build a fabulous pictorial proposal of symptomatic rumors. The visual contrast, roughness, delicacy, the sensuality of forms and the fullness are disturbing. Every expressive formal element put into action in his compositions is a note on the back of a gregarious manifesto to the unreason.