Moisés González is an artist who moves with the same skill in all the supports and techniques of the plastic arts. This creator, who has a surrealist vocation and renowned trajectory in the world of utilitarian arts in which he masterfully displayed his creation for several years, arrives with an attractive pictorial work that captures in the same way as it disquiets the spectator. He has a passion for oil painting over any support, according to him, that allows him to express himself more sincerely. He then surprises us with zoomorphic, ethereal figures with their own and well-defied identity in an oneiric world, which somehow scrutinizes our realities due to the themes he deals with.
Between the sacred and the profane, the experimental and the traditional we find reredos portrayed by ingenious beings with long inferior extremities in an unbiased, naked, sensual painting full of allegories to the contemporary world and its common conflicts that connect and concern us all.
Art surprised Moisés at a very early age. A proliferous and tireless worker with an empirical formation, he affirms that everything comes from when he was a child when he discovered that he had it in his blood. His art contains a great deal of his ancestors, since his family tradition and his summer holidays in Itabo, a small forgotten town in Matanzas province, with his uncles who were painters had an inevitable influence on him. He took from them and lives thankful to those experiences that opened his eyes to creation.
(…) This artist began his creative itinerary with the inlay paintings he successfully exhibited and marketed many years ago. He has given several lectures in and outside Cuba about this very old technique of which he is a great connoisseur. (…) His expertise in installation sculpture led him to refine the forms and to reach the two-dimensional. He got to the canvas because of a creative need and because of the infinite possibilities it gives him. This artist argues that creativity is magic and that he paints due to a mysterious force.
(…) His most recent production verges on the art of installations, since it hides the painting behind sui generis eyeglass frames, those old black plastic frames that evoke the 1960s. Royal palm trees, legs, U.S. and Cuban flags, among other contemporary symbols, reach us with this series in which black lines in the surrounding plane predominate with pastel and warm colors to give greater preponderance and expression to the figures outlined behind the eyeglasses.
He has a solidified pictorial work he has exhibited in several personal as well as collective expositions. He is currently immersed in the preparation of the most recent that will take place in mid-2019 in Europe. He is still linked to the Collage Habana Gallery of the Cuban Collection of Cultural Goods with which he still creates his project for the next Havana Biennial in which he will also participate.
