Jorge Gonzalez

Artwork

Reconstruction of ARKLU chair, 2015. Woods of Ocotea floribunda and Swietenia macrophylla, woven with Typha domingensis fiber.  Photo: Myritza Castillo
Reconstruction of ARKLU chair, 2015. Woods of Ocotea floribunda and Swietenia macrophylla, woven with Typha domingensis fiber. Photo: Myritza Castillo
Plating demonstration of Typha domigensis by Natalia Muñoz Paraliticci and Jorge González  Photo: Myritza Castillo
Plating demonstration of Typha domigensis by Natalia Muñoz Paraliticci and Jorge González Photo: Myritza Castillo
Understory sotobosque (Plano reflectivo), 2013. Installation project at Henry Klumb's House in Rio Piedras.  Wooden framework and glass panels Photo: Thais Llorca
Understory sotobosque (Plano reflectivo), 2013. Installation project at Henry Klumb's House in Rio Piedras. Wooden framework and glass panels Photo: Thais Llorca
Understory-sotobosque Installation view, 2015.
Understory-sotobosque Installation view, 2015.
Banquetas Chéveres, 2015-2016. Wood and woven tainted cotton cord.
Banquetas Chéveres, 2015-2016. Wood and woven tainted cotton cord.

Artistic Statement

Artistic Statement

My sculptural practice ascribes, in its processes and forms, to an approach of gathering knowledge on land-use and artisanal practices.  This approach is supported by the study of botany, archival materials, oral history, and the history of modern architecture, which serve as cognitive tools to reflect upon socio-political and socio-economic realities of Puerto Rico.  At the same time, the geographical and cultural contexts of the Island is at the utmost interest in conceiving platforms to take on forms, spaces, and publics.

Given the opportunity to work in Bogota, it is of my interest to put the architectural references of this investigation in dialogue with the work of German Colombian architect Leopoldo Rother for the Universidad Nacional de Colombia (Ciudad Blanca). And, in parallel, engage in the mapping of the Instituto Etnologico Nacional that establishes correspondence with indigenous groups of the Antilles and Colombia. This approach proposes to redirect the participation of intellectuals in the construction of nation by way of architecture and anthropology. These objectives will explore -through employing design strategies within collaborative and communal participation- different meanings and practices of ancestral experiences among indigenous tribes of the greater Caribbean basin while constituting a self-managed educational model.

Bio - CV

Jorge González (b. 1981, San Juan, Puerto Rico) conceptual artist who researches landscape, its ecology and material output, and through the lens of modern architecture manifests a sculptural practice with deep socio-economic context.

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He received a BFA from the Escuela de Artes Plásticas, San Juan, and he was a fellow of San Juan’s post-academic program La Práctica (Beta Local) from 2012-14. In summer 2016, González was commissioned for a project for much wider than a line at SITElines 2016: New Perspectives on Art of the Americas, a SITE Santa Fe biennial exhibition. Through the production of artisanal Banquetas Chéveres (Chéveres Stools) for the commission, he worked with traditional Puerto Rican craftsmen and small workshops, as well as collaborators of Escuela de Oficios (Trade School) to perform an out-loud reading at the College of Humanities of the Rio Piedras Campus of the University of Puerto Rico. Within this pedagogical platform initiated by González, particular manifestations of different scales and times weave an ongoing creation of a collective learning space. Knowledge—ranging from ancestral techniques to communal forms of production—is shared in meetings. These meetings are mobile, occurring throughout Puerto Rico, so participants can learn from local artisans and engage in conversation, workshops, and exhibitions. 

González is involved in the production of Other Forms of We, a study on tropical modernist design and vernacular strategies for Para La Naturaleza, Puerto Rico Conservation Trust.