The painting of George is first a stunning technical quality. This already deserves the hat off It is especially that side of the Masters of the "dream reality" George has a very a part. The Basque is haunted by the passage of time, and he directed the elderly who have exceeded mentally, awakening fatal, and a walled world, baroque, arcimboldesque times landscapes which are integrated with a delicate Flemish inspiration.
A strong and taking charge of an intense dream.
Gonzalez, pilgrim of the invisible
Gonzalez is one of the few painters of our time giving our world a vision in depth, I would even say a vision initiatory venturing beyond appearances, he wears a sharp eye toward the invisible, the 'behind the scenes, to the actors hidden secret of this odyssey that is played behind the scenes of our great theater.
And it is true that every picture of Gonzalez evokes a staging. But no matter what. And no such elaborations purely aesthetic, dramatic and fantastic, intended only to mask the emptiness of the room. No. In Gonzalez, the staged, carefully calculated, concerted, provides the framework, rigorous in its extreme harmony, which are inscribed, coded elements from a deep knowledge of the great hidden laws that govern our lives.
That mad 'Pilgrim of the Invisible "is off to conquer the depths and peaks that raise their vertigo Elsewhere in this timeless.
This journey, this quest Promethean, he brings this amazing crop of faces and landscapes that speak in silent words, a world in which we think sometimes recognize distant echoes familiar.
Gonzalez, in fact, is not a painter of great and fantastic, which allow drift lazily over an imagination free and unrestrained.
He does not invent. It testifies. For he knows.
Each of his paintings concerns us in what we are more authentic, more secrets. His work invites us, which usually only exist to be flower, apprehending that the shape and appearance, a huge journey to essentially towards the heart of the heart speaks Shakespeare, this central point and incandescent where everything is ordered and built. As such, Gonzalez is in line Rembrandt, Bosch, da Vinci, Durer, who, too, held this initiatory knowledge that belongs to each of us to decipher, canvas after canvas.
I said: Gonzalez did not invent. But he admits himself to ignore that sometimes those privileged moments in which his hand appears to no longer belong to him, sign his canvas key is very exact - finally - give him his v6ritableprofondeur its absolute authenticity: Him? Either?
Confided he not, a few months ago at a Paris magazine: "When I recognize I'm afraid not like me ..."