Yvonne González
Moro, Santiago
Internally, the Chilean art scene often falls under the stereotype of a cold and academized conceptualism. Some artists, on the other hand, have shown an interest in “refreshing” the atmosphere through aesthetic warmth, a certain humor, and urban culture. This may apply to the proposal that Yvonne González is presenting in one of the exhibition spaces of Galería Moro, where she intercepts the visitor with an explosion of colors acrylic fragments painted with sand, metal powders, resins and micas that float like paint blobs in space.
Where is the relationship with the Chilean landscape that the title of the exhibition, “Chaotic Pieces of a Chilean Landscape,” suggests? The landscape has been a key theme in the history of 19th to 20th-century Chilean painting, showing a tendency towards chromatic moderation or a certain paleness. This young New York-based artist, who lived in Chile during the time it was ruled by dictatorial regimes, attempts to reconstruct the fragments of a landscape based on memory and family recollections, with a nod to Abstract Expressionism and a touch of Pop. Undulations, drippings, plastic textures, strident colors, gloss, transparencies and indirect light effects, multiple and subtle shadows, predominate. A melancholic experience of light finally acts as a connection with the remembered territory.
