Arróniz Arte Contemporáneo presents JUNE – AUGUST, 2019 Tabasco 198, Roma Nte. 06700 Mexico City, CDMX More information: Arróniz Arte Contemporáneo Facebook / Instagram / Twitter Arróniz–Main GHOST MOUNTAIN Agustín González Ghost Mountain presents a group of paintings whose common denominator is a careful reflection on the genre of landscape. The main characters of these works are volcanos, mountains, hillsides of changing […]
Arróniz Arte Contemporáneo presents
JUNE – AUGUST, 2019
Tabasco 198, Roma Nte.
06700 Mexico City, CDMX
Ghost Mountain presents a group of paintings whose common denominator is a careful reflection on the genre of landscape. The main characters of these works are volcanos, mountains, hillsides of changing colors, translucent surfaces, bamboo forests, and people that at times seem to inhabit those places.
In this series developed by Agustín González (Mexico City, 1978) from personal experiences of natural immersion in Chile, Japan, and Mexico, romantic monumental landscapes are not considered as pictorial motifs. The artist privileges and transforms, according to his own vision, details of summits or the geological constitution of particular rocks. He invites the public to see his paintings as portraits of nature. Despite the attention placed on forests and mountains of different geographical contexts, González’s point of view is not naturalist—his aim is aesthetic contemplation. The artist puts at the service of his work a dedicated and attentive look that, while being overwhelmed by the grandeur of the scenarios he visits, is also able to capture the fissures and cracks in those same landscapes; in a particular way, the slow but implacable destruction of the nature of which man is responsible. González’s painting represents those processes of gradual destruction through transparencies and dynamic and scattered brushstrokes that play with the expressive possibilities of drawing and painting.
«Habit: A way of proceeding or repetition of same or similar acts, originated by instinctive tendencies, especially ones that are hard to give up.»
The interior space keeps the memory of those whom inhabit it alive; however, time might transform the rooms at the will or necessity of those residents.
The domestic deterioration that comes from ordinary use leaves traces on the furniture, the floors, the walls and the ceiling. The routines and habits from those who occupy the space leave evidence of living. These patterns or traces appear in the paintings; fluid and incomplete reconstructions of spaces which are no longer possible to access, but through this recreation almost seem tactile. A frozen moment in the slow process of fading memories of places that were once so familiar.
For her first exhibition at the gallery, Hisae Ikenga presents two series of works; on the one hand, the metallic structures with panels of the series Sutil olvido, and on the other, the ceramics Fósiles-vasija.
Both proposals mix elements and materials from different times and moments. In the case of the Sutil olvido series, the mixture of the production processes, the industrial materials, their qualities and colors, together with the forms, are the protagonists of this temporary chaos. And in the case of the Fósiles-vasija, a series of supposed rocks have sedimented over thousands of years, taking the form of a vessel with relief drawings.
Born in Mexico City, Hisae Ikenaga studied at the ENPEG, INBAL, and continued her formation at the University of Arts & Design of Kyoto and the Universidad Complutense de Madrid.