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Elizabeth Gonzålez-Aoun
Installations & Projects

(Infinity is you...sensitive walks)

An action under the theme of SUBTRACTION
who proposes you to build a path in the illusion
thanks to the concept of infinity.

Draw the infinity loop as you move through the showrooms
of the Museum and following the following instructions:
To ignore your surroundings.
Do not watch the exhibited works.
Do not hear sounds, voices or noises.
Seek to focus using the rhythm of breathing or
repetition of a word of your choice.
Fix the look on the feet or walking.
Fix the gaze on the ceiling and the illumination of the rooms

Apartment confessions

The apartment is the shelter, the refuge, shelter some, we are so many that the trend is to take shelter in spaces each time smaller ... the most basic on this concept: the cave or the cave, spaces that evolved, to say it in a certain way, carving large densities of stone in height ... this is how the first form of vertical dwelling is born.
We return to inhabit spaces with special conditions normally chosen by the user, and that's how I propose the idea of ​​the cube to which I add openings of different sizes to define the volume of internal space.
The cube-apartment becomes the space to do everything, the shelter, and the attention of this proposal is centered on the place of work, with the small table full of paper and pens.
The invitation to visitors is made for them to choose the cube, printed on a small sheet of paper, and leave in writing a confession, testimony, wish, or any feeling or impression (anonymous) about the space they chose around the apartment.
These sheets will be folded and glued to the wall (or vertical surface) they will attract the curiosity of people to open them and read them.

The immediate present and the timeless infinite, which are life.

Where there is talk of the plastic arts, or visual arts in the case being, her work turns out to be a mandatory reference, for they are the result of her research. The conditions for these works to be considered art lie in the realm of materials and designs, which are the necessary resources to express one-self... yet it's not enough. The sine qua non condition -the one without which there wouldn't be...- is humbleness: the artist's humble acknowledgement to be just a mere tool of the work's own expression. It is exactly the same relationship, which exists between said artist and her materials and her techniques. The indispensable premise is to accept the imperious need to capture tangibly that which moves and lives by itself...

Starting from the artist, each search is a procedure marking a step and in each of these steps the artist comes ever closer to the object of his search... and in each step, works remain as step-stones: this is the trajectory. It is not some erratic wandering or exploration that sets the path nor is it some rational and all-conscious thought process that constitutes the trajectory: it's the artist's embrace of the idea to give himself up humbly to the self-expression of an essence (personal or collective) which allows him to bring out works that will define each step and mark his trajectory....

This path, constituted of works -which is no other thing than the trajectory- is what allows us to follow and enjoy the essential route of an artist, through the trail he leaves behind. In this sense, each work becomes something of value, an obvious track of the artist's origin and destiny. Furthermore each work is, in and of itself, an object of perception and pleasure -singular, common and collective- to everyone; since all art pieces are an artist's work destined for spectator contemplation and enjoyment.

This is how the route filled with traces, blooming with works, isn't either one's own or the other's, neither general nor particular, it's expression -tangible and objective- of that which is essential, being common to all observers observing and rejoicing in it. Each work, on top of being a trail of the trajectory is -in itself, as an art piece- an unique and direct reference to what is sensitive, emotional and timeless: to the infinity essential to us all, artists and observers of art.

This is how from the observer and in the observer, the work/step/trajectory of the artist moves, stirs up sensations and feelings that turn him into an artist... which set him on the essential route of art, an 'infinite now' in each piece of art on the edges of the path... This event -worthy of the spheres of alchemy-, that transforms the observer into artist, is the magical reiteration of life itself, which creates and recreates ad infinitum... Eli has, in her essence as an artist, this notion of infinity...

After going through the indispensable ways of precise and certain knowledge of materials and techniques, and then achieving a precise self-expression through forms and colors, with the simple humility of walking a path constituted by her daily routine, Eli makes it to the most basic and obvious manifestation of infinity: in the planes of an endless strip, our gaze wanders and informs our mind that the textures, colors and shapes before us, may they be in small, medium or large scale, are a direct reference, in the moment of observation, to the continuum in which this instant takes place. The immediate present and the timeless infinite, which are life.

In Eli's trajectory, beyond the sculpting of human forms, deeper than the chromatic explosions of an abstract and simplified nature, more precise than the radiant lighting of chiaroscuro, transcending the obvious tangibility in each work, is the immanent presence of infinity. In this life instant forming between the work and it's observer, the infinite surges and becomes evident, an infinite necessary to locate that which is but an instant. In these simple forms that allow the gaze to go through the endless strip of Elizabeth González-Aoun, an alchemy of art is achieved : transforming an instant into infinity.

FD February 2014


Nature imagined...There's a strange feeling of wonder, like being put under a spell, the moment you see the yellowish frond of the araguaney, when you go through a tunnel of purple transmutations, in fall's golden colors, in a red vegetal stain, or is it ochre or orange, dancing off the color palette as the seasons come and go. Light is what gives us this magic. Glimmering light of the tropics, nuanced light in the middle latitudes, the light of an everlasting winter, daylight or nightlight, it is always responsible for our visual perceptions of nature and light. Even in the jungle's darkness it unravels mysteries and magic. Light, in the savannah's silence, a silence painful to bear.

Silently, a risen, gilded column emerges, a virtual trunk and serpentine branches of gold, hugs and kisses in conjunction, golden idol, the highest, most treasured and adored. Trunk and branches support a verdigris foliage which, defragmented, rises in spirals, looking for a way out into continuity as it's only outlook.

One could imagine the progressive journey of these follages into tiny fragments, like stardust, belonging to a cyclic quietness, spreading through the earth looking to be reborn in their next step in a colorful explosion where all species of their kind reunite to invoke their existence, in an amalgam of shades. A multicolored forest as some poetry of the soul, framed by a natural garden as some urban poem, used to reflect one's dreams, needs and contradictions, fusing the immensity of the natural environment with the fragmentation of memory. A window as a frame, juxtaposed concepts of nature and artifice, a poem and reality.

In the end, between dots, lines, planes and space, tools of imagination and logic, of madness and reason, one of the tree's moods rising to the search for celestial infinity, another, the flowered forest, extending horizontally trying to close the terrestrial circle, they both try to manifest the act of crucifixion as a third state. An imaginary condition as a omen of extinction, or rebirth and re-creation.

EA, for the exhibit Nature Imagined, Caracas 


...Trees are sanctuaries. But who knows how to talk to them, who knows" hear them, learn the truth. They do not preach teachings and prescriptions, but preach, indifferent to details, the primitive law of life. One tree says : inside me is hidden a core, a spark, a thought, I am life to eternal life. The Eternal Mother's attempted creation of myself is unique, unique is my shape and unique are the fibers in my skin, unique is the each insignificant movement of my treetop's leaves, and the smallest scar in my bark. "My mission is to shape and present that which is eternal in my singular way..." Herman Hesse.

After showing us illumined flowers and after submerging in "Personal Forests" which revealed hermetic tropical paradises, infinite and transparent, Elizabeth continues her journey playing with lighting, shapes and colors... She experiments with the language of trees projecting their size in the unlimited celestial horizon. A tiny bit of tropical fronds for everyone was chosen by her taste, resized to our sensibility, the shred that inspires us the most, the one that speaks to us, moves us and makes us dream, this is the blooming purpose in this wondrous work by Elizabeth González.

Her novelty resides in the inescapable and vital call to venture into a lavish nature, to invoke an interaction guided by the spirit and essence of trees : our very own essence ! Rightfully do the Yanomamis natives listen respectfully to the singing of the trees that becomes tireless words, picked up into baskets to perpetuate the consciousness of their ancestors. The artist's creativity invites us to fill ourselves the jungle's song, with exuberant trees singing their colors, whispering love, vibrating with light, whistling timeless melodies, but that also know how to create nexuses silently... Their song relates to mood swings, it is a tempting magic containing wise warnings, urging to a fundamental preservation, feelings trapped in virtual frames so that we can move them to more intimate enclosures and coexist.

Fania Petzoldt

"Forest, Forests. What does a forest hide ? Fables, maybe, ways of escape, ways to think, our animal, the one we do not see nor feel, and thus is left in the forest, wild, far from ourselves"

The network of creation


We suppose the existence of principles that structure all the things, insufflating vital breaths to nature and art. This being the object of our interest, we always ask ourselves whether the work of art arises under an irresistible creative impulse, or in an intermediate state as an aesthetic exercise, or in the greater and more desired dimension, as a product of divine inspiration. However, to avoid being excessive, it would be prudent to speak of a world of secret connections that animates formal thought, where the space-time impulses of the great creations germinate in a fertile substrate. In the appreciation of a work of art we like to point out the proportions, the harmony, the color, the rhythm, the combinatory games, because there is revealed to us a universe of organic networks that hold superior structures imagined by those who imagine, given the task of whoever sculpts sound, awakens the word, or gives life to sensible matter. If the demiurge is present, it is thanks to the confrontation with himself or something that is beyond his intelligence, because the will is limited to obey what was given to us in a scandalously gratuitous commitment. Certainly, the links of the imagination would be vain, if not ephemeral, if they were not sustained or often provoked by the spirit of transformation or by the creative will, the transcendent dialogue that alludes to someone who lends us the vital creative substance. A work in its full flow, allows multiple readings of contrasted images, simultaneously or in parallel mode, point to point, or intertwined in the essential silence that welcomes the unspeakable vibrations of life. The notion of represented work, forms an inseparable whole with those who listen in the spirit of creative co-participation, animated by the emblematic figure of the interpreter who impels the imagination beyond any intellectual commitment. To contemplate is to pursue our own expression.

Diógenes Rivas, Artistic Director Festival A Tempo