STOA Art Gallery
May 2012
Masculino Plural Catalogue
Before contemplating the works of Gonzalo, we recall the accurate words of Freedberg : “We feel a vague fear of the creative capacity of the artist (…) to the power of the images he created and with the uncanny ability of such images that both elevate and disturb us. We come to truths about ourselves in a way that is possible only as described as magic or seduced as if by witchcraft” *. This is the case in ‘Desierto de la Muerte’, an explosive glow that attracts, and at the same time, disorients the contrasting trees killed by devastating human action, with the hopeful flutter of birds and a fluorescent light in true Pop-Art style.

Gonzalo often uses undulating moving lines with a sense of “non finito”, that come close to kinetic art and even the “Minimal Art” form. But rather they are a colorful “Ariadne’s Thread” shining like vital beacons. In ‘Volando Solo’ and ‘Volando Juntos’ both are successfully associated with Pop-Art and Pointillism, achieving greatness on a small scale. There is much lyricism in his painting, as if he had lived in the Quattrocento, which we would classify along with Martin Gonzalez, among poetic painters. And a lot of ecology, as if his works is a hymn to nature so beautiful that makes them ideal scenarios to shoot a new “Fratello Sole, Sorella Luna”. C.A.

* “The Power of Images” David Freedberg. Page 62 Great Themes Chair. Madrid 1992

Conchi Álvarez

The Olive Press
April 8 2010
Cultural Battle!
New York and Madrid beware because the Axarquia is competing for cultural supremacy.
The Riogordo Galería is set to open this week and will host the work of Spanish artist Gonzalo Cores Gomendio – who has showcased in the Big Apple and the Spanish capital.
Gonzalo’s 2000-euro canvas, Mandala, will take pride of place in the gallery. Gallery owner Ken Church admitted: “I was delighted when Gonzalo agreed to show some of his work. He has had successful exhibitions in New York and Madrid. So I think it is fair to say that Riogordo is competing in the art world,” Church quipped.

Sur en Inglés
July 2 2010
Writer: George Prior
At the age of just seven years old, Rosana Martinez de Lahidalga Englisova, has started her own art collection with a painting by local artist, Gonzalo Cores Gomendio. “She is starting her collection very early,” said the gallery owner: “Her choice of a piece of modern art cleaned out her savings, even after negotiating a good deal, but it will be worth it because Gonzalo is a superb investment. “Sergio, Rosana’s father, also bought one of his best paintings for his home in Seville,” confirms Ken.

El Cultural (ABC)
17 March 2001 Nº 477, page 5
Writer: Martín Casariego
…From astronomical to scientific look at the images from Gonzalo Cores, the artist from Madrid who has developed most of his artistic career in New York: the exhibition in the Centro Cultural Galileo in Madrid was called Trayectoria desde Nueva York. In this exhibition Cores showed some disquieting images, which bring to mind photos of galaxies or cells, in that mysterious brotherhood between the big and the small, and which makes us realize just how small we are, incapable of finishing both the small and the immense…

Revista Crítica de Arte
April 2001, Nº 159, page 13
Writer: Raul Sanz
The artist Gonzalo Cores expands his vision beyond infinity where the rational conflicts with the imagined, or dreams with consciousness. He seeks the expression of concepts through the exaltation of color. He manages to combine what he sees and what he imagines through abstract representations made up of sinuous forms of a potent dynamism which introduce the viewer to his personal imaginings. He experiments with different forms and exposes them to his own criteria, in some cases they are reduced to stains of color and in others they are distorted to translate into the art the expression of feelings and experiences.

Gonzalo Cores concentrates expressive strength on the shapes and colors and turns his paintings into autonomous realities, which, like music, express the inner needs of the artist.

The artist possesses an expansive palette which focuses, among other things, on browns and blues. He orders them impulsively which, in turn, introduces us to a dream world.

Through his microscopic vision he introduces us to a passionate hurricane of colors and shapes which identify with life; existence moving in different directions with different societies which you never know where they will end up. He astounds us with the harmony between the colors which allows us to escape the routines of daily life. The art allows the viewer to travel to an ideal world where they bathe in color filled with life.

Gonzalo Cores uses his shapes as metaphors for life, from our cells, pillars of our survival. He awakes a symphony of emotions in the soul where the positive and negative of man are brought together and recognize the time constraints which leaves an open door to hope in the search for what is beyond.

Translated by Milos Fulton-Peluffo

Images and Dreams
August, 2001
Writer: Silvia Vega-llona
The paintings of Gonzalo Cores transmit a wide array of visual and internal experience. The versatility of his representations make the spectator travel through different worlds, bringing us from the urban space to the imaginary qualities of the sky and ocean; or, from fear to tranquility and the marvelous.

Like the camera’s eye explores different dimensions of our subjectivity, Cores’ eye penetrates the object with the intention to open new ways of seeing. His representations reveal concepts of time, space, and movement that would otherwise have stayed hidden to us. An original mind that bewilders our sensations, inviting the observer to imaginary spaces, and thus awakening our Benjaminian optical unconscious as much as our Freudian instinctual unconscious. Cores has developed a technical montage capturing elements from the Impressionists, Surrealists, and Abstractionists. His treatment of color incorporates at moments the impressionists’ strokes; the shock like effect of some of these paintings evokes the Surrealists’ cunning tension. In the abstract he searches for a path for the urban world, world in which he senses rupture end randomness.

Cores’ themes portray natural and urban elements. He has been attacked by geographical landscapes and maps, transforming them into the realm of the impossible, lost islands signifying division and separation, unknown continents, abstract cities with geometrical icons; geometrical figures that run parallel but do not intersect. America, Europe, and Africa all places that he has lived are transformed into imaginary continents, related and separate universal puzzles. Manhattan becomes the symbolic island onto which Cores represents the subjects detachment, distance and lack of proximity. Thus, his work has captured our Postmodern Condition theorized by the French philosopher Lyotard.

No matter his intention is to create harmony within the cities chaos and subject’s insulation, and he does so in his constant search of the movement of the form, for the optical movement, for the movement of the subject’s experience within the continental and city spaces. During our dialogue about his painting Atlantis, which represented America the land who was never found, I asked him, “Do you want to conquer America?” he responded, “I want America to conquer me”. Cores touches the object and the object captivates his mind creating a dialectical relationship with what he sees and paints.

The future is an important element in Cores’ artistic concern. He represents the future in blue manifesting that, “To look at the sky is to look at the infinite, nothingness, the future, I am not more than that blue, blue, blue… I like to look at the sky, looking at the sky you arrive to the point that you cannot see anything but your own eye. The sky is like the water, then the water has no color, it is blue a result of the reflection of the sky”.

The landscapes and natural elements becomes the subject’s mirror images, but the subject is responsible for the historical outcome, responsibility that lies in the understanding of our subjectivities, on the way in which images act upon the world creating meaning. Cores’ paintings act in our minds.

School of Arts and Science
Tish School of Arts, NYU, NYC, USA