Wifredo Lam (1950). Zambezia, Zambezia [oil on canvas].

This work has a distinct cubist quality in how forms are forced to conform to the angle of the picture plane. The subjects are severely reduced and, like Dali’s Birth of Liquid Desires, carry simultaneous conditions. The recognizability of feminine qualities is the only literal trait of the composition, giving the blue figure human qualities and leading one to conclude that its formal treatment is an expression of its emotional or mental state. The forms to its right are distinctly connected but discrete in their differences in angularity and color. It’s possible the first form is in a state of change. 
Formally, Lam binds the canvas together through the planar quality of the forms, their reliance on line to define them, and how they are formatted with the same texture. Ambiguity seems to be the whole point; subjects are split between recognizability and ambiguous states, calm and defensive, angular and biomorphic. They are arranged in a static, almost still-life pose that offers a form of stability with their relationship to the observer. Their development is even throughout the canvas, causing each area to pull an equal amount of focus with the exception of the feminine qualities that are seen. The dense, warm, indistinct realm they are placed in subtly contrasts against the uncompromising definition of the forms. 

Lam was an ardent anti-colonialist of Cuban national and Chinese, African and Cuban cultural decent. In this work of cubist-surrealism, Lam blends ritualistic forms used in a polytheistic spiritualistic series of practices known as santería. His intention was to impact the psyche of cultures of European decent for their centuries-long worldwide exploitation of indigenous peoples. The depth and power of his feeling is well-reflected in the expressive energy of the painting, which emphasizes emotion more than a crystalized, intellectual message.