In the work of Verónica González, we see the presence of a structure of thought based on nature as an original and displaced standard of comparison. Birds contained in niches to complex three-dimensional formations made of silk, which rethink the position of the sculptural canon and the natural object.
The artist’s work is understood to be a deep reflection on art and nature.
Recover the essential spirit. Veronica’s research kindles this gesture that she establishes as a bridge that stretches across contemporary art and at the same time dates back to the studies of natural elements of the first artists of German Romanticism.
Collecting, drawing and creating replicas of natural elements, seashells, exotic feathers, leaves, fibers, among other elements; objects of study and admiration for their beauty. The artist’s work continues its journey connecting that same spirit, reconstructing and repairing nature in a complex way, through romantic reveries around observation, the collection of natural models, the biological awareness of primary standards of comparison, and the graphic training of Verónica González. It is here that nature disappears and artifice appears. Systemic serialization, feather clippings, leaf silhouettes, bird repetitions and floral elements, constitute the symbol in the use of this concept-metaphor of autopoiesis.