25.03 - 20.05.2017
[des]encuentros is an exhibition where Irene González presents a series of 20 same-sized drawings (50x19 cm) creating a sequence through which she brings us closer to the cinematic story. In her latest project, some constants of her work appear again: the melancholy, the individual and the memory of what was lost. She uses a compendium of reference images taken from different sources to talk about herself. Irene González calls them “quotes”. The external and the personal converge in her working process. Just as happened in her previous show “Espacios afectivos, zona de ruina”, each drawing is vindicated by its own autonomy that entraps us. Even if the artist has worked by creating series until now, her work is understood as a whole and not just as a continuous line where she creates variations on a theme in order to access to a particular concept or even to a more complex feeling. Irene González’s work avoids the repetitive narration of the daily life. In her drawings, the artist talks about what is happening “off-stage”, what is passing when we stop talking or acting. These are spaces for reflection where the ambivalence between the film format narration and the image itself is such that the spectator is led to take some time for reflection in order to consider what is evoked from them. Her drawings are leaps through space and time. They, indeed, invite reflection and project filmic narrative moments. The ambivalence between the chronotope – which is a insoluble time-space unity with expressive character – and the need for creating this decoupling of time and space is reinforced by the idea of emptiness. An idea which is getting more and more important for her work. She herself says: Just in an empty space there is movement, this is the prerequisite for any potential action or development. Extended moments, without narration, uprooted from their temporariness, eternalized but with the imminent possibility of something might happen there. Odd light rhythms in the vacuum of space, architectural geometric fragments, black surfaces where it’s not possible to penetrate further, that give the image a strange lack of definition and solemnity. The intersection between the passing of time – a fourth dimension – and the densified space is the place where they become visible to the onlooker, where they become appreciable from an aesthetic point of view. Her main references are Seurat’s drawings, old photography, classic cinema, but they also have to do with that what is filmic and literary; Vermeer, Hammershoi, Hopper, De Chirico, Balthus, Vija Celmins; the novel “Melancholia” by Marek Bienczyk, “The way of beauty” by François Cheng, “In Praise of Shadows” by Junichiro Tanizaki and the poetry created by Clara Janés, Vladimir Holan, Olga Orozco, Rilke and Valerio Magrelli. By working pencil on paper technique mainly, the artist explores abstract figures, space and structures where she dramatizes the relationship between light and shadows, forming a whole which differs from her previous works. Irene González’s stroke is firm and delicate but distant from a possible mannerism or the senses excessiveness. She doesn’t want to instruct us or convince us of anything. But, if we take the time to look at her works they entice us to leave the drawing surface and enter into the space where the beauty shyness moves us. It is not just “Reclaiming Art in the Age of Artifice” as J.F. Martel has suggested recently, but the encounter during the intermission, where everything that happened and will happen is happening right now. The corner slenderized me And the right-angled stairs Led me to the point of despair. But I found myself in that whole space, And I blended with the air. Recognize the God from this place In the gift of transparency, I said to myself. Advance toward the mystery of the negation of the edges where anything casts its shadow. Clara Janés Irene González' website Here you can download the information about Irene González's exhibition
If you would like to receive our latest news by e-mail, subscribe to our newsletter.