Any artistic creation is the daughter of their time, and greatly mother of our own feelings. Vassily Kandinsky (Russian artist)
The theory of chaos and order has been explored by writers, scientists and artists, being a recurring reference for understanding the discourses that occur in the visual arts since ancient times. The Russian Suprematist and Italian trans, with atingencia addressed the precepts defining the value, reference works are studied and disseminated constantly.
Angela Gonzalez, in his recent work, it feeds on those concepts to deliver parts where they live in the univocal and the multiple, dizzying chaos of the present and the memory of a mythical reality, the intimate exploration of the subject and open acknowledgment of nature , the assertion of a figurative presence and dense substrate surface.
Structures, where every sign, every object, plays a specific role, which, in the end, as a sort of alchemy, set a whole, as those buildings where metal, cement, sand, stone, clay, form partnerships to raise a wall.
It is not free, therefore, that Angela makes use of an extensive catalog of material: beeswax, oil, graphite, pencil, fabric, metal, structures that leave traces detectable density. The imaginary presences arise carnal figure recognizable as devoid of artifice, and abstract and geometric signs, like pieces of a puzzle, tracing, at the end of the game, the uniqueness of the multiplicity, the individual sign the palimpsest.
A kind of archeology that explores the everyday and where the female presence assumes a prominent place.
Incisions , masks, prints, isolated fragments of our own reality, rescued from saturation and information overload. Conjunction of chaos and order that part of a deconstructive complexity, the emblem as imago mundi of our time.