CAPTURED IMPERMANENCE

During his first one-month residency, Alonso González Hernández worked on 14 medium-format paintings and 12 small-format sculptures.

He gave concrete form to the possibilities of becoming, capturing through shapes derived from molds of everyday objects the potential interaction between the manipulation of materials, the unconscious as a guide, and environmental conditions.

Driven by his interest in revealing the immaterial, he confronts materials—particularly wood and cement—with the rawness of the wild and the imprint of orange blossom. In a kind of performative exercise, he manipulates in order to learn and to reveal the constructed tension, that mental division between the natural environment and humanity.

In the drawing-painting series developed during his second one-month residency, Alonso continued his gesture of inquiry and learning, experimenting with large-scale formats. On paper canvases, he softly covered the studio space, leaving marks as paths toward making texture permanent—toward halting decay and disappearance.

Beyond the importance of materials and their relationship with the unconscious, González Hernández's works engage in dialogue with the forms and concerns of modernity: rationalist architecture, organic lines, and the voluptuousness of the human body, echoing the work of Moore and the Mexican Stridentists.

Processes like those of this emerging artist shape and strengthen the work we do at lagos. They allow our community to be broad and diverse, enriched by different generations, disciplinary approaches, and experiences.

olgaMaargarita dávila
Chief curator