De Azúcar

Sugar, an inventory and a summary
By E. Sokoloff, Bogotá, La Cometa Gallery, 2012


Sometimes words and Processes meet in pro Circumstances. Not as coincidence or by chance, but as the outcome of dealing and Addressing thoughts and experiences in a serious way and Committed.
Ana González has Demonstrated This Path That She follows: work, depth and perseverance in her search, in a career That has its roots in constant creativity and experimentation.
To Say That a plastic artist is creative is redundant and does not Encourage any further reflection. However, When This statement Involves the process and even the self-observation of Such a process, the way you interpret the work Takes an unsuspected turn.


There are creative Processes That conceptualize, define and end in an action-reaction method in Which mistakes are part of the achievements and Successes are subject to chance. On the Contrary, others produce, screen and settle on something; These come closer to an outcome where a prior interest manipulation has-been defined, and where a previous selection has taken place Also.
These Processes That Involve self-observation, screening and grouping are able to extract an artist's reduction of him / herself. It is a gastronomic analogy with depuration That is the essence of the ingredients. . In creative terms it is closer to Eliminating the noise, and while restraining the purest expression of Ideas
The Sugar series is one of these "concentrates", it is generated from a syncretic inventory and ends up in a refined summary. It brings together several lines of Work That Ana González has-been working on for more than a decade. It adds up a group of works created from That Have Been an auto critic, and careful process Observed That is conscious of its strengths and Weaknesses, and questions of its interests. Of its obsession with memory and oblivion.


It includes Between 35 to 40 pieces created That Have Been During the last two years and Consists of photographs, sculptures, drawings, installations and paintings. In short, a variety of Reasons That allow us to Illustrate the language Plurality and the searches of her artistic proposal.


Ana González's artwork has a special quality Regarding the visible balance That exists Between three factors That should be taken into account When you analyze a work of art. Shape, subject and color
Even though her ​​compositions are space, controlled and balanced, it would be presumptuous to reduce and see her work as a purely formalistic result. The architect's rigor can be seen in each of her Formal responses; she masters not only the figure, but Also the surrounding space. She is conscious of the pictorial emphasis, as well as the pauses in the sculptures.


It is essential to understand the cluster of signifiers That are grouped Regarding the subject.


Ana has worked for more than 10 Years with displaced people. Her obsession in Consolidating a collective social memory That Recognizes That complexity is inscribed in different ways in her previous series, as well as in this one. This is where we find the main focus in Sugar's dissertation.


The Repeated use of the local iconographies and That of objects refer to ordinary life in the past, like the Sunday dress, the top, the ball, the paper garlands Among other ritual objects and symbols, act as a framework of memories and feelings That connect the spectator with a continuous flow of reminiscences and hidden memories That are parallel to our present conscience.
memorabilia But This is not a single reference Autobiographic or self reconstruction, but That is a powerful vehicle travels and is embedded in the collective memory to permeate to the time That has faded and leaked, and escaped Between the hidden objects and rituals of the past.
This way, over time her concern Appears once again as an accomplice of a language That seems to be constructed in another historical moment. The careful way, With Which she uses different techniques in her paintings, the same as the construction of small precious porcelain objects are able to summon an eternal and immobile sensation of a moment in the past That we thought was lost forever.


Likewise, her photographs and metal sculptures are always contemporary and, like an installation, They transform into objects with intentions That space dimension where physical project to relive the past.
Finally, her graphite and charcoal drawings reveal a technical minimalism That allow us to conceptually explore Possibility timelessness prevails every where.
Colors has-been a very interesting factor in her evolutions. In the beginning she used a limited palette, but with shadows That bordered visibility, the outcomes had a funeral, phantasmagoric and melancholic emphasis.


Nowadays, her palette is charged with love and vividness, it has Reached out to more experiential and Subjective territories: burgundy showing intense and secret spaces That Are Associated to each artwork's dweller. Pink, the color of love and nostalgia, of life's majesty. Lilac, present in all this series, is acerca balance and reparation; When it gets darker it transforms into inspiration and when to it it turns violet talks about the truth. In the cold shade palette, blue is Associated with sincerity, With Those memories lived in spiritual harmony, the neutral color palette connects With the strength of gold, and That is a color she has used her THROUGHOUT Entire career. Finally we can Recognize the classical combination of black and white, que in her case blends the purity and magic of recovered time.


Ana González is a versatile artist, and we can see this in the summary series, where it is possible to identify identity Also the perseverance of her discipline in her work. Her careful process of self observation owners Gives value to each artwork and it Also Generates an inventory of wonderful virtues, of times inside and collective memories That Have Been recovered by a subtle but dramatic palette color.


Stephanie Sokoloff.