The Cuban abstract art have been very scarce or considerable silenced after 1960 and most of the abstract artists were very influenced by the cubism movement (which wasn't of much interest by Josignacio) and two groups were formed in the late 1950s, one Los Once (The Eleven) where the most prominent trends were the Informalism or Art Informel and concrete abstraction. The most outstanding figures of this abstract current joined in the group Los Once, as they were called by the initial number of participants which were formed by and they were: fr:Guido Llinás, Hugo Consuegra, René Salusitano Ávila Valdéz [es] , Antonio Vidal Fernández, Viredo Espinosa, Fayad Jamís, Tomás Oliva, Agustín Cárdenas, José Antonio Díaz Peláez [es] , Francisco Antigua, José Ignacio Bermúdez Vázquez [es] and Diez Pintores Concretos [es] (Ten Concrete Painters) whom were a radical group formed in Havana, Cuba in 1958, devoted to geometric abstraction. The Ten was formalized as a group in 1959 with its inaugural exhibition entitled “10 concrete painters exhibit paintings and drawings”, organized on the occasion of the second anniversary of the Color Light Art Gallery, a space managed by artists co-founded by Dolores Soldevilla Nieto and his partner Pedro de Oraá in 1957 to promote abstract art in Havana and was integrated by Pedro Carmelo Alvarez López, Mario Carreño Morales, Wilfredo Arcay Ochandarena, Salvador Corratgé, Sandú Darié Laver [es] , Luis Martínez Pedro, Alberto Menocal, José Mijares, Pedro de Oraá, José Ángel Rosabal Fajardo, Dolores Soldevilla Nieto and Rafael Soriano. These artists briefly called themselves Los Diez Pintores Concretos — the 10 Concrete Painters — or, simply, Los Diez, the 10. Formally, their collective had a short life, 1959–61, and showed together as a group only three times. It was the culmination of nearly a decade of work, friendships, writing, lectures, sojourns and shows in Paris and New York, as well as local exhibitions. The group coalesced around Galería Color-Luz (Color-Light), which was started in Havana in 1957 by Lolo Soldevilla [es] (1901–1971), just after she returned from several years in Paris as Cuba's cultural attaché. She was an artist with energy to burn, judging by the works representing her here. Her partner in the effort, another member of the 10, was Pedro de Oraá, an artist, poet and art critic, born in 1931, who would write a short history of the group. That's why since his youth Josignacio only through art books was influenced by the abstract expressionists of the New York School (art); especially Jackson Pollock from whom he got the use of dripping and pouring paint on canvases but with pigmented epoxy resins instead of alkyd enamels, however, Dutch painter Karel Appel faces and Russian artist Wassily Kandinsky mix of colors have had a special focus. From Dutch-American Willem de Kooning he got the centered figure compositions The color palette of Josignacio is very extensive, but the spectrum of green mixed deliberately with bright reds and blacks has been his personal seal and what, along with his personal style of execution, has kept him (despite the influences) in a distinct and perfectly identifiable position. In his childhood Josignacio had been more motivated by color than by forms, a distinguishing factor in his artwork that was often noted among his older painters colleagues such as René Portocarrero, José Gómez Fresquet [es] and Raúl Martínez (artist) closed friends of his family, which pushed and encourage him to keep in his abstract track. However, in his first art exhibition on March 2, 1987 in the Gallery of the Artistic and Literary Lyceum of Regla he included his self-portrait, which he did according to academic style, the rest of paintings were all abstracts. It was from this point of time, that his future as an abstract/neo-figurative painter had been decided.
