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Gonzalo García"Espinas y tallos I" thorns, sexuality, male nude, pastel colors, contemporary2024
2024
About the Item
Artist statement:
My work as a figurative painter examines my experience as a gay male living in Mexico today. My early paintings and drawings are explicitly erotic in that they focus exclusively on human flesh, depicting the vulnerability of self-portraiture through the lens of intimacy and sex. Over time, I began to paint my friends in similar states of being—leveraging a seductive, mystical realism in the works to evoke each subject’s physicality and overarching sense of desire.
While these self-portraits allowed me to explore, and ultimately uncover, who I was as a gay male artist, lately I’ve been compelled to work more metaphorically and bring to life more subdued sexual motifs like flowers, complete with varied textures and colors that echo the human body but allow the viewer to draw their conclusions. In both portraits and still lifes, key themes tie the works together. These include the body, sexuality, fragility, and undertones of violence. The latter lies beneath the surface of the scene featured on the canvas, inviting the viewer to take stock of the composition and only then dig deeper into the painting’s history.
After receiving Mexico’s coveted FONCA (National Fund for Culture and the Arts) scholarship, I began to research and subsequently fictionalize elements of Mexican history, particularly milestones from the ‘60s, ‘70s, and ‘90s, blending past and present to inspire a sense of contemplation regarding where the nation is today.
- Creator:Gonzalo García (1985, Mexican)
- Creation Year:2024
- Dimensions:Height: 20 in (50.8 cm)Width: 12.5 in (31.75 cm)
- Medium:
- Movement & Style:
- Period:
- Framing:Framing Options Available
- Condition:
- Gallery Location:Ciudad de México, MX
- Reference Number:1stDibs: LU2072214106312
About the Seller
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- ShippingRetrieving quote...Ships From: Ciudad de México, Mexico
- Return PolicyA return for this item may be initiated within 7 days of delivery.
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