Ana González is an artist who vindicates beauty as a value, as she recognizes its talismanic effect of recomposition and sacred creation. Her works and sculptural interventions reveal her concern for understanding nature, displacement and absence from a significantly feminine point of view, with which she expresses its content in the sweetest way, and through an artistic process with the one, she illuminates her works. She is an artist passionate about craftsmanship and recognizes the mystical and powerful character in the act of weaving. The craft, the workmanship and the family tradition are part of her motivation to highlight the feminine and organic side of her history.
Some of the themes on which she focuses her attention are mutuality and collaboration, as a constitutive part of the method and creative force. Although these themes are of great magnitude and complexity, Ana Gonzalez's approach is always intuitive and personal, with a remarkable formal delicacy and a clear interest in establishing emotional communication with her viewer. Her work is polyvalent and complex, as it is a clear example of how art boasts the possibility of functioning as a knot between multidisciplinary knowledge, a limbo in which knowledge from different times and geographies can converge and create new experiences that expand the boundaries of the familiar.
The complex character of Ana González's work is reflected in her tireless anthropological search, in her clear interest in botanical knowledge, in her references to indigenous ancestral knowledge and in the arduous artisanal procedures of her work. Thus, she reminds us that what we understand as natural is not a terrain monopolized by science, because beyond the concrete laws established by the scientific method, art contributes a personal point of view in which we all participate.
"In the beginning, I painted and drew just to practice the craft, because I know that I have a knack for certain techniques. But then I understood that through them I could talk about important issues in Colombia: forced displacement, mining and deforestation. It was in this way that little by little I began to take shape. Today I believe that my work as an artist is to socialize issues that I see that can be told in a very poetic way. Sometimes words are not enough; the journalistic part -which is important- is not enough. Sometimes an image can say much more. A work can express much more. So, I believe in the transforming power of art in that sense."