Teo González is a contemporary painter who nearly 40 years ago was born in Zaragoza, Spain, the hometown of Francisco Goya. His elaborate, process-oriented abstractions have appeared in some group shows at the Roy Boyd Gallery, which now gives him his first solo exhibition in Chicago.
Nearly all the 16 paintings are square in format and combine several media. They also generally employ two colors, one for the artist’s tiny marks, the other for his uninflected ground.
The marks are something special insofar as they resemble drops of an almost clear liquid with dark nuclei. They’re like individual cells microscopically enlarged, then multiplied by the hundreds across the picture surface. Each is different and appears to have been spread by some biological process. However, underlying them are grids, which have determined either strict alignment or divergences that result in slight undulations.
The rigor of the process causes small variations in shape, color and texture to register with considerable force. It’s one of those seemingly paradoxical situations where the tighter the control, the more free the artist. But in no sense does one feel the force of obsession. This is a rational art, capable of a visual excitement that is not at all expressionistic.
The “Untitled #263” adds to the thrill a now-you-see-it, now-you-don’t flirtation with Op art that bodes well for the future.