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Danilo González: Art, Ecosophy, and the Internal Order

Artist Danilo González at his studio. Background: Exterior 1, 2010, acrylic on canvas.

Artist Danilo González at his studio. Background: Exterior 1, 2010, acrylic on canvas.

“One of the things that most attracts me to space exploration

–with which I am in total agreement–

is that thanks to it we can see the Earth.”

- Danilo González

By Janet Batet

To gaze upon the universe of Danilo González is to undergo an experience entailing considerable self-examination. His approach to art is always an investigation of man through his environment. In this relationship, the environment becomes a mirror of the soul, thus achieving the notion of cycle essential to the work of this artist. This is accomplished precisely through a kind of ritournelle, which makes us aware of belonging to and depending on others and the environment in which we live.

In this sense, Danilo González’s artistic offering connects with the notion of ecosophy developed by Felix Guattari in The Three Ecologies. For Guattari, as with González, the notion of interdependence becomes the cornerstone. Guattari proposes a cross-sectional perspective of ecology leading to a systemic view marked by three closely-linked levels: the environment, social relationships, and human subjectivity. The interconnection of these viewpoints guarantees approaching phenomena as a whole and not from, shall we say, a “schizophrenic” perspective that implies an analysis divorced from the context, splintered and therefore artificial and ineffective.

Danilo González, Exterior 2, 2010, acrylic and mixed media on canvas, 80” x 60.”

Danilo González, Exterior 2, 2010, acrylic and mixed media on canvas, 80” x 60.”

It is precisely this concept that has inspired Danilo González’s oeuvre throughout his vast artistic career of more than thirty years. Although González’s prolific career is marked by endless experimentation and exploration, leading him to utilize very different techniques–traditional wood-carving, etching, painting, photography, and installation, among others– there is always a common denominator underlying his entire body of work: the sense of ecosophy, where man and the environment act as an essential dialogic unit.

In this sense, of note are his large allegorical compositions comprised of small paintings that are integrated like a mosaic, independent modules whose placements are never definitive. To said effect, González has created a versatile structure, allowing for the continual recomposition of the work, thereby adding a ludic component to the piece. Each of these small paintings or modules constitutes a self-referential motif; the artist revisits his own career and lifts essential icons that now become independent entities in the new space. Their specific placement implies a reinterpretation of the icons, which are renewed with each new placement.

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Ladders, podia, garbage dumps, clothes hangers, industrial artifacts, and faces become effective allegories of our daily surroundings, making us aware of the impact of our most simple acts as part of a much more complex whole, which we often do not even notice in our daily haste. These compositions appear in a dynamic of macro-micro proportions, stressing the notion of the interconnection of the parts. The semi-abstract element is introduced to this effect. The highly artistic forms at times suggest to us unicellular organisms; at others, galactic vistas, forcing us into a continual reevaluation of the rest of the elements through endless psychological zooming.  Here, traditional narrative meaning has been replaced by a kind of intellectual montage in which association promotes endless interpretations.

Juego de niños para adultos (Children’s Game for Adults), 2010, acrylic and mixed media on canvas 6”x6.”

Juego de niños para adultos (Children’s Game for Adults), 2010, acrylic and mixed media on canvas 6”x6.”

Three fundamental icons stand out within the vast work of this artist: ladders, garbage dumps, and toy soldiers.

Danilo González’s ladders era has a certain metaphysical accent. In desolate private human environments, monumental buildings lacking openings assert themselves as defiant and enigmatic monoliths; a fragile ladder, flimsy but adequate, rests against a wall, becoming an essential link between man and civilization.  In fact, it is the only indication of the human scale in these enigmatic places. As a symbol of the determination of a tribe always in search of better prospects, this series of ladders asserts itself as an essential bridge between humanity and civilization.

The series of the garbage dumps has a calm, relaxed halitus so costly to the fabric of the landscape. These predominantly blue detrital landscapes, in landscape format with a distant horizon, promise reconciliation with the natural element. However, inverted terms are established: nature is replaced by detritus in a perverse cycle in which civilization replaces nature as it destroys it. The mounds with hills visited by birds query us about abusive destruction by a society where unrestrained consumption becomes the only satisfaction and Pyrrhic revenge against our daily madness.

The series of the toy soldiers merits special attention given the implicit chain of associations. In it, the toy is the symbol of a child, which in turn becomes an effective allegory of our permanence on Earth. Nevertheless, the toy does not carry a hopeful sign; instead, it embodies the controversial paradox of the self-destruction of the human species.

The installation Utopía is emblematic of this series. Comprised of undamaged translucent boxes full of militaristic toys, the work is the result of meticulous and fruitless stockpiling. For many months, the artist visited a local toy store and devoted himself to emptying its shelves of all bellicose toys. Contrary to the desired effect, in very little time the store increased and diversified its range of bellicose toys. The installation is the reflection of the perverse effect of a system operated solely on the mercantile laws of supply and demand.

Loaded with a high sense of ethics, the work of Danilo González calls attention to our immediate surroundings and our active role as modifying agents of an ecosystem whose safe-keeping implies our survival as a species.

Danilo Gonzalez is represented by West Branch Gallery & Sculpture Park. 17 Towne Farm Lane, Stowe, Vermont, 05672. Phone: 802 253 8943 Fax: 802 253 7815 / www.westbranchgallery.com

Danilo Gonzalez Art Studio is located in Miami, Florida at 2732 NW 2nd Ave, 33127. Phone: 802 399 8444 / www.danilogonzalez.com / danilopintor@yahoo.com

Janet Batet is an art critic and curator based in Miami, FL.

All images are courtesy of the artist. Photos: Mariano Costa-Peuser