The pictorial transmutation of iron
When anybody stands in front of Marcos-González’ works they witness the revelation of some of the deep moments which remain engraved in her personal imagination. In spite of being visible, naked in their material being, they transmit a spiritual dimension which directly appeals to our introspection, to personally look into the qualities achieved by that which we all intuit in the limits of memory. And this response has much to do with the plastic and formal unravelling of the artist’s visions.
Her particular cosmography is confirmed by the mediation of the original elements of Nature: the air, the sun and the water which play on the iron and give origin to the materialization of time on its surface.
This rust, which is the discovery and, at the same time, the symptom of physical decay, achieves a significant primacy in its sculptural forms. But, with respect to her pictorial work, it achieves even a new dimension when this happens on the naked canvas with no preparation at all. Through this original process of oxidizing the canvas, the rust undergoes a transmutation, it becomes a pictorial substance fully corporeal on its own, and it impregnates her creations with ancestral temporality.
Under this frame of mind there operates an ordering point of view of the spaces geometrically organized, which wants to guide the mark of the rust and to shape the appearance of the picture, meant as a manifestation of the inner reality which is being perceived. Forceful symbolic shapes which stand out from darkness and show up in their unfathomable presence – occasionally tinged chromatically –, broken symmetries which mark the boundaries of mental landscapes and new creations, a summary of the reflection and of the meditation which at all times lies behind the creation act, shape the identity of her work.
We are certainly in the presence of a work which will not leave us unresponsive. It is full of suggestions, of sensations which connect us with the invisible which is an indissoluble part of our daily existence. Cuando alguien se sitúa delante de la obra de Marcos-González asiste a la revelación de alguno de los instantes profundos que permanecen impresos en su imaginario personal. A pesar de hacerse visibles, desnudos en su materialidad, emiten una dimensión espiritual que apela directamente a la introspección, a que investiguemos personalmente las cualidades que adquiere aquello que todos intuimos en los límites de la memoria. Y esta reacción tiene mucho que ver con la resolución plástica y formal de las visiones de la artista.
Jesús Navarro. Director of Museo de Arte Jaume Morera, of Lérida.
Exhibition in Lleida. October 1996.
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