Cult, existence, and artistic creation have a special relationship for José A. Vincench. An initiate of the Afro-Cuban cults of Regla de Ocha, Palo Monte and the wisdom of Ifa, Vincench projects the revelations and divine prophecies received during his religious consultations. However, his art goes beyond mythological narrative; each piece suggests conjectures and invites us to create our own hypothesis.
Vincench liberates his creations from religious stereotypes and establishes a connection with myth and ritual through the interpretation of symbols and the construction of poetic metaphors, while always casting a critical eye on the Cuban context. He not only takes religiosity into account, but emphasizes other aspects of human activity such as the social and political. Above all, he dwells on the analysis of themes related to identity, popular culture and the power of the mass media. His work seems almost at times to act as an amulet to protect us from moral vice. Vincench teaches us the power of words, of the ordinary phrase or the written commentary, of ethical sentences that separate good from evil. Letters are sacred messages, voices repeated through time to remind us that there are such things as eternal truths.
Exile, the installation made out of craft paper and twine, is a beautiful metaphor and tribute to everyone who live outside his homeland.
Vincench's proposal is a deconstruction of Cuban reality that encourages a critical reading. The act of dissent is maybe one of the most authentic exercises of democracies, being a genuine expression of the freedom that supports society. In the case of Totalitarian regimes, the act of dissent from the central government's policies makes one a dissident.