Unclassifiable in his eclectic studies, neither conceptual nor post-modern, the painting of Cuban Angel Ramirez has the rare quality of provoking in the viewer that pleasant disorder in which reflection, sensuality and a perfect sense of humor seem to displace the purely pictorial language to put us in a world ruled by narrativeness.
Since the speculations sui generis of Acosta Leon, no intellectualization and symbiosis of such a level have appeared in Cuban painting. Because here formulation of a metanarrative (like in the case of our “conceptualists”) doesn’t matter. What this work offer is rather a wise combination of elements originating in literature, plastic art and even handicraft, which results in a suggestive synthesis coupled with eagerness to narrate that is strongly connected with the artist’s social and ethical concerns, which are identical. It is there that we must seek a geographic root, besides such easy-to-find characteristics of “Cubanness” as baroque exuberance and brilliant coloring. In this playful irony, this inclination toward the search for narratives in an immediate reality to censure it in the calmest irreverence, joking is present. And it is this conduct, this form of taking up his surroundings and in these psychosocial traits that we discover the Cubanness of this painter of tropical St. Georges. Here is an artist who has discovered the secret of saying much with little, wisely assuming that true art always lies beyond the resources with which the artist creates.
Marylin Bobes, Miguel Barnet