Maddox Arts is delighted to announce Dionisio González’s first solo exhibition in London. We are showing the ‘Dauphin Island’ and ‘Inter-action’ series from 2011 and 2013 respectively, as well as two works from his new 2018 series ‘Brutal Zone’.
González shows in his works ‘futuristic’ architecture in a natural landscape. His visionary constructions have references to Le Corbusier - projects of buildings made out of béton brut and Kenzo Tange and Kisho Kurokawa - futuristic visions of cities inspired by Japanese metabolism architecture-. But González does not limit himself only to architectural influences. He is exploring any kind of art, getting inspiration from Italian Futurism, Giorgio de Chirico’s archways and Xavier Corberó’s architectural sculptures.
González has always had a fascination with the different types of societies and the characteristics of the environment in which they live.
In the ‘Dauphin Island’ series he is showing architecture as a shelter. Dauphin Island is located off the coast of Alabama and is known as the ‘depressed America’. The island has experienced throughout history strange circumstances of adversity. It is exposed to all kinds of natural disasters such as cyclones, hurricanes, etc. And yet there is a kind of ghostly architecture that made her really attractive. González’s ‘bunker’ architecture on Dauphin Island is created with oblong or curved spaces to help the wind pass through and maintain a thread of rationality around that delirium.
The ‘Inter-action’ series starts with the question about ruins: How is a ruin created? Ruin as a symbol of abandonment that lead us to a state of deterioration and the imperfect. Rudy Kousbroek says, that maybe ‘the fact that a building ended up turning into a ruin was not more [but] a consequence of a lack of decision?’ . In a ruin, nature enters the building and takes over the cities, not the other way round. So, what defines a border between inside and outside? Where do the outside end and the inside begins? F. LL. Wright, points to the wall as a border, but, what about light and space? Dionisio González separates those two concepts with his symbolic architecture and the fact that the constructions in the ‘Inter-action’ series are set on pillars. Contact with the ground is limited, space is open, but walls still create asylum. What if the asylum is just another ruin?.
Futuristic architecture, dynamic of shapes and directions, sometimes too sharp edges, buildings that appear out of the blue in the city landscape. Pure fantasy. That’s what defines Dionisio González’s work: images of the future, a future that happens now.