The painter and sculptor Jorge González Velázquez assumes the work as an extension of life. For him, it is unthinkable to remain unscathed, petrified in the creation of works that endlessly relapse into a style until they become bloodless. The life experience —in the historical development—, rather, is transposed into a work that elapses and reverberates. From the exploration of various techniques and materials, there is an aesthetic search that is intimately and deeply connected to the sensations, pains, absences or questions established by the artist. But building a language with its styles takes time and work. Let's just say that his work has the wonders of his different ages. The result of disciplined work, specific historical moments and a talent that has involved a process of training and collaboration with artists who preceded him. He has worked directly with great masters: Juan Soriano, Leonora Carrington, Gunther Gerszo and José Luis Cuevas. His successive trips and exhibitions in various cities in Mexico, as well as in Graz/Vienna (Austria), New York (USA), Budapest (Hungary), Warsaw (Poland), Alicante (Spain), Komárno (Slovakia), have enriched his cultural ethos, its approach to the artistic avant-garde and its visual referents of abstract art. Traveling between different cultures, museums, architectural styles, ways of life, has given him sedimented experiences in his artistic work. Without remaining anchored in the present, he endorses that phrase by Octavio Paz where he states that "we are contemporaries of all men." Just as the Oaxacan artist Rufino Tamayo, whom he admires for his aesthetic challenges, displays in his works a fruitful dialogue with tradition and with pre-Columbian civilizations. In them, he has proposed different themes and, under his own vision, their supports overlap, integrate or bring together past and present, figuration and abstraction, the stony with the liquid, the ancient with the contemporary.
The sculptures he presents were exhibited at the Juan Soriano Museum, opening the gallery to other Mexican sculptors with that exhibition. These fiberglass sculptures have been presented in Poland in a series called "Music in sculpture." There is rhythm, sensitivity thought of "Chopin's nocturnes or Bach's persistent music" that has vibrations, emotions displayed in these three-dimensional spatialities. The three pieces that are presented have coexisted in his workshop, in San Agustín Etla, with the paintings that he has made precisely for this exhibition. Confronted with loneliness and ghosts, he tells me, he has sought to "pay homage to women, to sensuality, to the creative energy that always dialogues with the feminine." Perhaps the most insistent theme or the one that has been present in a transversal way throughout his creative processes has been the strength of the female presence. He thinks of it as a reference of origin, sensitivity and creative power. Like a vital energy, the eros that guides the plasticity of life in some works that aspire to represent his visual poetics. For Jorge González Velázquez, in the plastic work he does not intend to make a narration since he focuses rather on the object, on the chromatic compositions that shine on the canvas, finding its meaning in the brilliance of what happens in the work. Painting for him: "is what happens, the composition that is made so that something happens on the canvas." Installed in Etla for two years, he has searched for spaces of light and color, community life, clay and quarry workshops, the sensory coordinates of these fertile lands where he has found a certain tranquility and stillness. Thus, he presents us with this work that, magnetized by the feminine, is outlined and, from its apparent plain, opens possibilities of freedom and plenitude.

 

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