We are not in the presence of solely and uniquely intuitive artist, as he works without rushing, with an evident dominion of the pictorial technique. Gonzáles Ayquipa brings about a different and lighter color, a fragile light and ondulating effects of fragmented colors, meanwhile he explores the potentialities of stains in his most advanced stage. In his work, we observe a deep study of color and modality of light, as well as that of paint as a mesh of luminous tonalities. His homeland´s influences are clear at the moment of undertaking works of art and to orient his art, since the Andean landscape is rich in colors, as well as the Andean people´s customs and traditions, their countryside festivities, processions, colorful clothes and folklore. In order to better translate the vibrations of Peruvian rural atmospheres, this artist avoids any retouching of a stroke and prefers thick stains, the possibilities of which started to be exhibited by Goya. The subjects of his first paintings are totally popular and country-like, outside the workshop. This projection towards other places was imposed onto him by circumstances. But, along with it, he has managed to cleanse the colors, seeing and reproducing them in such a purity level which might be said to be overflowing with magic, thus finding a correction to the composition in too much mystery of living and dying. From there on, in the stage he is presently in, we discover cubist influences in his abstract paintings. Just to name one example, in “Vision Series”, neither is the perspective used in the conventional way, nor the colors correspond to reality. This allows us, as observers, not to adopt a single point of view with due respect to the painting. The angles from which one contemplates the object are multiplied, obtaining thus the sum of all its perspectives. In that series, there is a more austere sense of art. With that way of painting, Simeón Gonzáles reaches the exciting journey across realities the human brain can freely build or destroy. His paintings achieve a new genre of beauty, in terms of volumes, strokes, masses and weights, and through that beauty, the observer interprets this young and genial artist´s subjective impression.

 

In some paintings, he completely walks away from reality, losing its figurative constancy, and in others, in spite of the abstract style, he respects it, or at least, he doesn´t separate so much from it. Nature becomes one of his works´ central themes, and above all, marine backgrounds, from which he adapts the shapes of their habitat, to translate them to other imaginary places. These canvases bring us closer to states of humor and allow us to contemplate shocks of absolutely opposite, but also, complementary rhythms, nonetheless taken to a new harmony.

 

In these paintings´ abstract, we find ourselves face to face with surrealistic strokes that send us to the complicated and unknown world of dreams, that of subconscious phenomena, buried by this artist´s consciousness. We find ourselves in the presence of an artist who has submitted reality, through his painting, to all kinds of experiments, as he reduced it to color, geometrized in his cubist paintings, distorted in his earlier stage, dreamt with surrealism that remains latent, in his abstract paintings. Given his great creativity, the evolution reflected by his work, can only be achieved thanks to a great work capacity.

 

I saw how he transformed himself all along his trajectory, and his last work is a contribution to abstract impressionism, as his innovations are so sharp in the fields of color, that they contribute to improvisation work and chromatic masses, like in gestural strokes. Indeed, it is a work of great pictorial intensity, in which the contraposition of gesture and color is achieved to develop, in that way, a dialog that flows between process and contemplation.

 

Without the shadow of a doubt, in spite of his young age, as an artist, with a long trajectory and excellent curriculum, Simeón Gonzáles presents himself to us as a categorical artist without ambiguosities, but with endless references and definitely, an artist who confirms his mastership in every canvas, awakening emotional states in each stroke.

 

About Simeón, little can be added which has not yet been written. Perhaps, there might always be something to say about his creativity, that quality which cannot be learned, as we know that everything can be learned, like technique and style. However, the necessary creativity, in any time period, is unique, mysterious and personal.

 

Málaga – SPAIN – 1999