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Born in Medellín, Colombia 1959.
Lives and works in Bogotá, Colombia
Education:
1980-1984. Philosophy, Javeriana University, Bogotá.
1983-1984. David Manzur’s Workshop, Bogotá.
One Person Exhibitions:
2007 “De los trapos, los papeles y los lazos”, Quinta Galería Bogota
2006 “Sublimación”, Arte consultores, Bogotá.
2005 “De lo urbano y de lo rural”, Quinta Galería, Bogotá.
2004 “De lo urbano y de lo rural”, Quinta Galería, Cartagena.
2003 “Pinturas”, Galería Arte Consultores, Bogotá.
2001 “Dispersión”, Quinta Galería, Bogotá.
2000 “De esas cosas de esas”, Quinta Galería, Cartagena.
1999 “Pinturas”, Galería Arteconsult, Panamá.
1997 “En busca del patio perdido”, Quinta Galería, Bogotá.
1996 “Bodegones”, Alonso Arte, Mirarte, Bogotá.
1994 “Intra muros”, Ambrosino Gallery, Coral Gables, Florida.
1993 “José Antonio González Gutiérrez”, Centro de Arte Euroamericano, Caracas.
1990 “González Gutiérrez”, Pinturas, Centro Colombo Americano, Bogotá.
1989 “Pinturas”, Centro de Arte Actual, Pereira.
1988 “Pinturas” Galería Casa Negret, Bogotá.
Selected Group Exhibitions:
2008 Pintemos juntos por Colombia, Club el Nogal, Bogotá.
ARTBO, Bogotá’s art fair, Stand Quinta galería. Bogotá
Cuestión de Corazón Galería el Museo, Bogotá.
2007 No es lo mismo, Centro Colombo Americano, Bogotá.
2006 Pequeño Formato, Club El Nogal, Bogotá.
2004 Cuestión de Corazón, Galería El Museo, Bogotá.
2003 Diez años de adquisiciones de arte joven, Biblioteca Luis Angel Arango, Bogotá.
2002 Espacios y atmósferas, Galería Arte Consultores, Bogotá.
Exposición Colectiva, Quinta Galería, Bogotá.
2001 Concurso Latinoamericano de Pintura “Energía y vida”, Enersis, Santiago de Chile.
2000 Solidarte 2000, Galería El Museo, Bogotá.
“Group show”, Sazzing Gallery, Coral Gables, Miami.
1999 Art from Latin America, Wally Findlay Galleries, New York, East Hampton, Chicago, Palm Beach.
1998 FIA, Feria Iberoamericana de Arte, Stand de Quinta Galería, Caracas.
Generación Intermedia, Biblioteca Luis Angel Arango, Bogotá.
El arte en los 50 años de la Universidad de los Andes, Claustro de la Enseñanza, Bogotá.
1997 Pequeño formato, Quinta Galería, Bogotá.
Recreaciones: Versiones colombianas de la historia del arte, Centro Colombo Americano, Bogotá.
VIII Bienal de pintura y escultura, Galería 1-2-3, San Salvador, El Salvador.
1995 Festival Latinoamericano, EUR, Roma.
1994 Exposición inaugural, Museo Iberoamericano de Arte de Popayán.
1993 Art Miami 93, Stand Galería Euroamericana, Miami Beach Convention Center, Miami.
Obras para el Museo de Arte Moderno de Popayán, Galería Casa Negret, Bogotá.
VI Salón Regional de Artistas, Zona 4, Corferias, Bogotá.
1992 30 x 30 x 30, Ambrosino Gallery, Coral Gables, Florida.
Tazarte, Centro de Arte Euroamericano, Caracas.
Art Fi 92, Centro de Convenciones, Bogotá.
Doce para un fin de año, Centro de Arte Euroamericano, Caracas.
1991 Cock, González García, González Gutiérrez, Uribe Holguín, Galería Arte 19, Bogotá.
Pre-bienal de Cuenca en Bogotá, Museo de Arte Contemporáneo, Bogotá.
Son Seis, Galería Diners, Bogotá.
1990 XXXIII Salón Nacional de Artistas, Corferias, Bogotá. Exposición Colectiva, Galería Iriarte, Bogotá.
Imágenes y signos, Galería El Museo, Bogotá.
1988 Homenaje a Bogotá en sus 450 años, Galería Casa Negret, Bogotá.
Museum and corporate collections:
Biblioteca Luis Angel Arango, Bogotá.
Museo de Arte de la Universidad Nacional, Bogotá.
Centro Colombo Americano, Bogotá.
Museo de Arte Moderno de Popayán, Popayán.
Centro de Arte Actual, Pereira.
Colección Enersis, Santiago de Chile.
Awards:
Honorary mention of the Chile friends of art corporation in the contest: Concurso Latinoamericano de Pintura “Energía y vida”, Enersis, Santiago de Chile.
Two Articles:
By Germán Rubiano regarding the exhibit “Sublimation” in year 2006:
In an artistic career that´s reaching twenty years, Pepe González has shown that his dedication to painting has allowed him to show each year better and more accomplished pictures. This show entitled “Sublimation”, corroborates what has been said. It´s a beautiful group of relatively small oil paintings that concentrates on one of the author´s favorite themes: everyday life objects. Keeping a high austerity and avoiding complex compositions the painter reduces representation to a shelf viewed from the front and installed in a reduced space that holds a few objects.
Every painting builds a particular world in which a wide array of figures is reunited, viewed from different angles, with very tuned colors, soft contrasts of light and shade and delicate atmospheres. The term sublimation is a word taken from thermodynamics and that means the transition of an object directly from solid to gas state. Pepe González employs it to point the transformation of trivial, everyday objects into rare and essentially poetic shapes in the painting. These shapes transmit experiences from his private context and, above all, ideas that bring up the rich intellectual preparation of the artist.
By Pepe Gonzalez regarding his own conception of art in the book “Art Expressions: Colombia 2005):
For me, figures in paintings are like words in poems. The meaning and significance of figures and words follow the ways of the painter or the poet. One has to read poetry or see a painting with different eyes than those commonly used when approaching the concrete world. The logic that rules over artistic thought is not the same that rules over other forms of thought; therefore, words and images do not mean the same in art as in politics, science or journalism…
When the observer enters into the play of the artist, s/he becomes part of the artistic creation. Not because the observer ”understands” what the artist “wanted to say”, but because his/ her thought participates in exercise proposed by the artist. There is no such a thing as a passive observer. The aesthetic experience is a two way play. To approach a work or art means that the observer spends from within. To read an artistic work entails the artistic work of the one who reads. What’s funny is that each person observes in his own and different way. A work of art produces - and should produce – diverse effects, not only among different observers but within each observer, not in vain we are the product of many forces acting simultaneously inside ourselves.
Just as words do, images have the ability to be evocative. To evoke is to somehow bring into memory. And each one’s memory is unique; it refers to one’s own history. Even if it is true that we may have a shared history, how we perceive it remains unique. This evocative power of images is what I seek in my paintings. This is why I cannot put them aside, they are born of my memory but they try to allude to something different for me than for others. However, occasionally, it is similar and during some brief magic moments I feel we are not so alone in the universe.
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