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ARCHIVE: EXHIBITORS 2009

Ana González / COLIBRISUR ART PROJECT

Ana González: "Bailarinas II", Mixta sobre lienzo, 100 x 90 cm, 2007
Ana González: "Bailarinas II", Mixta sobre lienzo, 100 x 90 cm, 2007

Ana González Rojas
 Calle 93 A #9-18 (401 torre 3)
Bogóta, Colombia

phone 57 1 236 37 10
new window  www.anagonzalezrojas.com
new window  www.colibrisur.net

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Art Statement "Bailarinas"

Mais, quand d’un passé ancien rien ne subsiste, après la mort des êtres, après la destruction des choses, seules, plus frêles mais plus vivaces, plus immatérielles, plus persistantes, plus fidèles, l’odeur et la saveur restent encore longtemps, comme des âmes, à se rappeler, à attendre, à espérer, sur la ruine de tout le reste, à porter sans fléchir, sur leur gouttelette presque impalpable, l’édifice immense du souvenir.
Du côté de chez Swann (A la recherche du temps perdu) by Marcel Proust, 1913

After working and listening for many years to the stories and memories of the displaced Colombian war victims, I found common places and images that can attenuate the people’s sorrow  facing the reality of tragedy.
The Bailarinas series, represents Maria’ s story, one of the many accounts of war I compiled over the past two years, about an eleven year old girl displaced from the rural area of Caqueta, Colombia ( where drug dealers cultivate coca and the guerrilla recruites children like her to fight in the war). From these conversations with Maria, small details progressively emerged  from her memories that turned into symbols from her past and gave her structure and strength  that allowed her to face the worst moments of her life.
The tragedy of war  is diminished here with symbols from childhood memories. Just as Marcel Proust mentions in the  madeleine’s episode in Du Cote de chez Swann, it is about dealing with that precious psychological experience of the past in depth, with this fortuitous repetition of analog impressions that are marked by an unspeakable happiness in the confines of conscience and unconciuosness.

As Baudelaire wrote:
 “Parfois on trouve un vieux flacon qui se souvient, D’où jaillit toute vie une âme qui revient” 
Le Flacon de Les Fleurs du mal

In this way, there are memories that confer depth and longevity to what seemed small and ephemeral. Memories and everyday details that avoid loosing the self structure and  which collapse during moments of sorrow and death. Therefore it appears a relation object-memory, composed by a series of Bailarinas, inspired in dance parties and "Sunday-best" dresses worn to Mass or Catholic Baptism, where they show  the absent presence of the girl. The paintings evidence how the absent person continues to live on through her objets, through the  memories of her dresses and dances in exile.
In Bailarinas, Maria vindicates herself with her body through dancing, which is her way to recover her body which has lived so many tortures and deaths at such a young age. Fragility and strength, as if the true reality was shaped on the memory of each human being.

ANA GONZALEZ ROJAS
 Bogotá, Colombia, *1974

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