Imagen Miguel Biography Logotipo San RománSan Román
Gesture, Expression, Space:Gesto, Expresión, EspacioThe pictorial calligraphyCaligrafía y ColorSentir la emoción de crear
Expresar sin necesidad de trascender
el mensaje, el espacio, la luz,
el gesto, el signo, el color,
la vida


Until 1976, the pictorial trajectory of Miguel González de San Román (Vitoria, 1952) was characterised by the accumulation of ideas, concepts and theories. During that inicial period of apprenticeship of the accumulation of knowledge and experiences, little by little he acquired the resources necessary to deploy the mark o fan increasingly more personal art. Nonetheless, it was a period in which he was still publicly recognised as possessing a disproportionate capacity in terms of theoretical reflection, and artistic pedagogy.

His first Works werw figurative pieces. They exhibited a solid fracture, both in the treatment of the human representation as well as in the landscape.

But from a stylistic point of view, it was in the North American abstract expressionism, more than in its European counterpart, that this Vitorian artist was to encounter some possibilities for truly personal expressión. During his years at university, at that particular moment in time, he developed an aformal enriched expressionism with timid material vestiges. As well as the North American abstract expressionism, another of the influences which are essential in order to understand the evolution of this artist, is his sincere devotion to certain principles of oriental philosophy-, above all, Zen philosophy-, principles or contents which maintain an intense union with contemporary artistic praxis.

The creative capacity of the artist was by now no longer subject to external, apparent, or phenomenal referentes. Instead, it started to attribute itself to the unconscious, to the instinctive mechanism of the mind, the source of all creative processes. The artist´s thoughts and the very act of painting practically became mechanisms for simultaneous action. One of the fundamental characteristics of this painter, was that of integrating the calligraphic expressión of gestural connotations and certain rational or conceptual elements, into one single space.

Or immersing himself into the sphere of the abstract, the expressive atmosphere of the non-figurative, it may also appear that a distancing from the exterior reality, from nature, took place, but this was not the case. Nature continued to be the main source of inspiration in the work of González de San Román. Another very different matter is that all abstract processes imply, as a result of their own internal dynamics, a task of selection and synthesis; that is to say, the artist holds on to the contents which seduce him/her, which attract him/her, whereby the artist proceeds to reject or eliminate everything that is not useful or necessary in these specific instantes.

His evolution is notorious, and perceptible, with noticeable qualitative changes. If, in the early stages of his career, he chose to combine gestual and instinctive forms which emanate from the mind with conceptional racional resolutions which translate into geometric forms and approaches, thereby combining gesture and geometry on canvas, he then proceeded to gradually give greater importance to the purely pictorial nuances, to a type of expressive-abstract formulation, as had been done in the past, but this time he increased the lyrical and sentimental values of the compositions. The subjective stamp, the “I” creator, as a result, became much move evident.

What is more, even though the gestural modulations persisted, what remained the same, the strokes of shapeless colour executed by the nervous spontaneous movement of the hand, a feature which has become the “tour de force” of the work of the Vitorian painter, rests in the expressive unconventionality of a spatial essence. That is to say, a spatial abstract expressionism, in which the pictorial material is extensively developed, but is not a definition. Amidst this dialect between the gestural and the spatial, the instinctive beating of the graphs helps to define or to delimit a specific spatial orientation that is preserved in its immensity by the stretcher of the work.

To form-colour, we may incorporate another dialect which is interdependent or is closely related to it: from-void, a dialect which contributes to the defining of González´s most recent work. “Horror vacui”, which is so characteristic of Western art, and of its artist who are only too willing to occupy or fill everything, including the most minute reticle of the pictorial support, with forms and colour, is not accentuated by Miguel González de San Román. He has again exited unscathed from the melee with one of his most stable and long-lasting formative constants: put in another way, “the modus operandi” of Oriental calligraphy and all of its present and traceable ideologies in the different abstract movements of an expressionist mould, in existente in Europe and North America for over half a century.

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