Extremely delicate, Dania González furthers the possibilities of an imaginary naturalism where surprise and unusualness, flesh, intensity, and the most intimate are expressed through the freshness of aquatint, soft skins, and enormous calmness. Her poetry is pseudoscientific and pushes the world and its dimensions to a primitive state of cultural composition. This is how she presents things, as if it was the most exact study, and then she adds to them an unexpected fabulous voluptuousness.
From the advantages of drawing to the possibilities of installation, she gives an imminent texture, as subtle as disorderly, warm and carnal, to her analytical studies. Therefore, she often uses a profuse design of prolific, vertebrate lines. Colors are only pertinent in shallow details. The viewer’s attention is focused in the motif of interest, its textures, features, even its mobility; but Dania is not discovering anything new by these media, she is rather finding her first strategy in recreation.
It is the representation of things and the creation of a sort of elemental compass, the unequivocal sense of this graceful creator’s oeuvre. That is why her images share that particular fantastic spirit that nourishes them and illuminates them. It is not the hare anymore, but the apocryphal bullet of its trot through this world; it is the fruitful register of its existence and the imaginary sustainability of its dimensions.
On the other hand, it is impossible to skip over the highly dramatic level of her oeuvre. In the textures, the incandescence, the dearly velvety character of her prints, lie the signs of creation. Pain and pleasure, perverse feelings in the end seem to be purified by the declaration of a mediated carnality in abstract state, which eludes what is earthy, impure, foolish. Her gaze over this world is platonic and in dissidence with the reality lying behind it, Dania González seems to be resolved to create another symbolic atmosphere, this time, more saturated and vital.
