The visin cosmolgica of Ral Gonzlez Courts Consider the work of Ral Gonzlez produce Courts of entry, as a striking sinestsico resultado del juego of shapes and colors that the interpenetrarse, Crean shades, densidades, transitions and, above all, Movement, a condition of art contemporneo own. In SENSE psicolgico a synesthesia is a subjective sensation or image, a characteristic of felt, determined by a otra sensation that affects different in SENSE. As, in their paintings observamos its wake-imgenes agotan not a single reading, since you have to traverse the plane, ie stds despliegan geomtricos polymorphisms in the eye and cromticos obligan that in a reenfocarse Event of multiple perspectives that passing through the emociny the intellect apparently upset our notions of space. Another part of its production shows Figuras animal, plant or humanas with a minimalist treatment, where you will appreciate simblica Parts of the Nahua, routed to the subjects of their paintings aesthetic geomtrica-wake, but in a more organic abstraccionismo. Each outlines a path own painter, his biography of Fruto, training and cultural Experiences significativas. Ral Gonzlez Courts (Xochimilco, 1964) the nation\'s majestic corazn Valley Mxico. I believe a lake landscape, among cerros sagrados, chinampas, fields of flowers, Artesanos prodigious, popular parties, Fireworks, music and procession. Intensidad This is the matrix of life that desprende its work and its Mesoamerican raz nutre the duality of a csmica. On the one hand the representation of life Frutos, flowers, birds, men, and for the other, the Death with its crneos of zompantli, intermedios beings and the between-worlds: Nagual, Dragon-serpiente, mariposas de fuego. This duality estexpresada pictricamente clidos the alternation of colors and fros, following the theory of Wassily Kandinsky on the Properties of emotional color. As although at first sight its imgenes reverberated like a rainbow, the plot cromtica is in balance thanks to the blonde blue like that discurren diminutos between various channels of Xochimilco orgnicos beings, xuchitl of glyphs (flower ) papalutl (butterfly) itzcuintli (dog), coatl (serpiente) witzihtxilli (hummingbird), miquiztli (Death), and other smbolos the Aztec calendar. The range of colors that I use I can express that Dado has very high tone in the vital energy that debemos tener. Sque has ciertos strident be effective, however this is part of shrillness mensaje aesthetic (RGC). Even in its most suprematistas paintings where the con luces y sombras monochromatism estexpresado routed from the tonal family, is traslucen, amid fear veladuras sucesivas, alegoras acuticas, terrestrial or gneas, plenas poetry , mystery and possibility. Rally proviene del Campo DISE chart of ahsu preocupacin by the composition and the lattice frame; Besides the painting, has incursionado Engraving in the ilustraciny photography. At its exhibition trayectoria colectivas single and, for the three levels, sobresale a recurring asunto: Da of the Dead, which is dedicated to the altars, paintings and grabados. The Feast in honor of the Dead is a tradition that marks the end of the millennial cycle ritual in agrcola Mesoamrica, and symbolize Death for Life since it began the transition toward the rebirth of the earth. This duality permeates Nahua cosmology, por ejemplo, la pareja of deities formed by Quetzalcatl sun serpiente feathered, star of Maan and Xlotl dios-dog, the evening star, Venus . These are obscure and smbolos of light by the painter Transformados cdigos cromticos. The practice of pictrica Ral Gonzlez and its interest for him emparientan indgena the cosmos on the one hand, with the ancient tradition of pictogrfica tlacuilos Aztecs sagrados illustrating the books, and by the other, with the popular painting by Francisco Toledo, Rufino Tamayo and Diego Rivera, pays tribute to those who occasionally from a field with its own semantic metforas orgnicas, sandas, xoloizcuintle dogs, or just interview the man in the red Tonalpohualli opens its third panel. In the Mesoamrica cmputo del tiempo constituyun fundamental axis of the culture and religion, in the Nahua calendar, both by the numerals are representan crculos with a point inside. Author of The Old calendario Mxico. And the Origin of Tonalmatl cmputo of the das (1999), Ral transfer to your paint your obsesin by the space-time-. Points are located in their paintings, lneas, crculos, spiral and fractal configurations that evoke ciertas continuidades, cycles, recurrencias y, por ende, dinmicos systems. The fractal structure of semigeomtrico is one goal that is fragmented or irregular repite distinct scales in the way of the ice crystals or sand dunes. In the shapes fractal asemejan to all the parties themselves and were in Growing complejidad: simetras simple spiral, until you reach the random mutations, they say, morfologas cualitativas superior. The struggle of duality or contrarios of Nahua philosophy lies a visually express the dynamism that tensiny Gonzlez armonas its plasma fractal, where an algorithm cromtico reiterndose See you on numerous variations perspective, semejanza of ahuehuete, whose two-dimensional vertical profile of distinguimos to Verl away, and whose structure is a multidimensional measure that was to revelando ste approaching us, and observamos, ngulos distinct from, the details of the trunk, the branch, Las Hojas, or your eye from a foliage loop cenital. However, in the natural world is not possible so all percibirlo sincrnica, as socurre, por ejemplo, in the field of mechanical cuntica in partcula-wave duality, where a tener same perceptions can fenmeno simultnea distinct form: verse as crculo Segni square or the behavior of light. Rally materializar has made in its work philosophy Ollin, Movement that puts everything in Accini Existing Movimiento Perpetuo, piezo central calendario azteca. Your jeroglfico estrepresentado by an eye entrelazado by two symmetrical spiral Gear, a red blue and again that the simbolizan contrarios par. This eye-crculo, representation of the universe, questioning ourselves in silence from the bottom of its lienzos, unas times with the asombro of them fatal, Other, with the unrelenting gaze of a deity. Selection of the quadrangular format, as Objeto primary plastic material is pertinente. The square cosmolgico have a significance in the Mesoamerican world since it designates the four rumbos of the universe: four points for a fifth unificados that the belt which connects the sky, the earth and the underworld, also called quincunce. As are located in each of the painter a acrlico metonymy of luck, whether the underworld, the world of the men or the scope of the gods. Por otra parte, su retcula evokes DISE de los peruanos tocapus, ponchos fabrics with a square of fabric colors adorned with Figuras geomtricas type ideogram. Deca Paul Klee (1879-1940) that the art does not reproduce the visible but makes visible to the invisible. In this felt, Ral Gonzlez, with its Brush and his gaze on the world, to estcontribuyendo dar paso a curve in the road larga initiated by Piet Mondrian, the precursor of abstraccionismo geomtrico, toward the b Narrow the spiritual art of it. The slogan of Klee that owes everything was poet, artist, explorer of nature and is filsofo asumida as Commitment for Life Rally. Together with its compaera Amrican and their children, Inti (Sun) and Meztli (Luna) and traveling on Mxico Perbuscando artsticas Keys, Signore spiritual sites in sagrados llenos of energy and natural areas , light and color. Since its aproximacinmstico-cosmolgica the work of Mexican Ral Gonzlez Courts shows an intense experimentaciny Lenguaje own profiles, in which a time-vrtice pictricas sustantivas century currents of XX: the expressive power of pure color of the fauvistas; the retcula primarios and the colors of the painter Piet Mondrian (1872-1944), the abstraction of geomtrica checo Frantisek Kupka (1871-1957); the contrast of the French painter Robert Delaunay (1885-1941), the plasticity of cataln John Mir1893, 1983). About everything, in his work a resonance of them are located ritmos y geomtricos cromticos of Klee (1879-1940), its style, in Swiss-alemn semejanza the painter, presents variations between Surrealism and the abstraccionismo the expresionismo. In reflecting on the canvas as the regular flat surface and is develan confluyen where the interiors and exteriors of creative ideas, Kazimir Malvitch a supremacist Russo painter from the early twentieth century, apuntaba ya what will the future of art pictrico: First painting deviene msyms clear inevitable velo del tiempo y del espacio. This motivates Last deviene decisive as a bridge that the painting owes inevitably Cross to enter into a new circumstance. Text: Paulina\'s Moral.
