Michel Mirabal, called me for an idea that I didn’t think about that I could get involved with his passion and philanthropic endeavors. From that moment I remember when I met him in 2016, after his first exhibition in my Santiago de Cuba, my hometown, which was held at the prestigious René Valdés Cedeño Gallery. I still keep with suspicion the catalog that he will dedicate to me with great affection where the Juanes de la Virgen de la Caridad del Cobre, stand out as he announced from the imaginary world that he keeps in his head and heart.
His work is marked by symbols and controversy is on the rise like the flags that stand out in each of his canvases, performances and installations. How much rice and meat are found in his photographic gaze raising in each of the spectators the unusual opinions that can go from deep approval to the most recalcitrant censorship. Music and memories is another important element that distinguishes this designer from a visual artist.
With his work we can understand an important part of this conflict with our northern neighbors. Because conceiving flags in a work after 1959 became an act of social sacrilege that could cost him dearly, the one who only thought about this fact that we can usually see in Mirabal’s work.
But in my opinion his greatest work is the Finca Calunga or the Finca del Arte, which is a socio-cultural project with a true social vocation. And this is where the greatest admiration of this visual artist can be highlighted, seeing how an artistic work becomes a work in pursuit of many needy people, not in the manner of crumbs but the full contribution of men, women and children who benefit from this labor of infinite love. That in a deeper analysis can demonstrate the humanist vocation of Michel Mirabal, an essential issue in the practice of our society.
I believe that I have been able to know Michel Mirabal’s work and person in their humanity and diversity, which has allowed me to understand the psychology of his creation and the spirit of his projection in contemporary art today. This art is becoming more and more anthropological and thinks that each future time must be better in the construction of the necessary sensibilities of the future generations of Cubans.
Yasmani Castro Caballero