King of conceptual art – Francisco Cabral 1980s

For instance, if you want to take this tri… triptych right

Francisco Cabral’s chair at the National Museum of Trinidad and Tobago. The work incorporates a panoramic view of what is believed to be a fort

This captured television clip of Francisco Cabral gives a glimpse over the meaning and conceptual backing of his sculptural work. Cabral is considered to be one of the most revered artist from the 1980s. He is noted for his construction of steel high chairs, and his work is part of the permanent collection of the National Museum of Trinidad and Tobago. His chairs speaks of leisure, privilege and restrain on these sunny Caribbean islands.

In the interview, he describes one of his works, Coffin kite as to neutralize the polarizing factions to what constitutes Indian, African art and more relevant, Trinidad art. In Coffin kite, a skeleton is placed in a coffin using machine cogs to form its structure, he also conglomerates the social classes by using cultural elements in it, but separates his own ethnicity by giving a generalization to which sociological grouping this particular work should be placed. He says its African because it carries that aesthetic value in it.

If you read more into this, he is really leading the Christians to the lion’s den stressing that machines can never replace the image of man himself. ” We have go off on a technology race, and has neglected man who is a completely human being. He is total, he has so much more to explore within himself as an individual that being neglected all because technology is used as a measure of man’ development which it totally incorrect, it is external, it really has nothing to do with man. No other artist since then has had that this level of conceptual incite.

A short clip of Francisco Cabral on Banyan television

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