Ricardo González utilizes a limited palette, simplified mark-making, and sense of humor to explore the language of expressionistic painting and drawing. His work draws on his own automatic drawings, urban wall scribbles that populate his environment in Mexico City and New York, and celebrates a recurrence of Art Brut via the likes of Jean Dubuffet, Karel Appel, and A.R. Penck. His fast manic drawing suggests an intuitive child-like doodle. Fragmented figures with grimaces and smirks frequent Gonzalez’s work invoking a character all too familiar that is deep rooted in our collective unconscious, a sort of savage full of uninhibited energy that could easily be found in early rock n’ roll or the tales of early outlaw blues songs. The paintings ricochet between the sublime and the nihilistic, creating a tacit dialogue between satirical cartoon and evocative painterly gesture. Gonzalez elevates seemingly cursory doodles into signifiers of pure form, medium, and process, thus propelling them into the language of art.

Ricardo realizó tres pinturas sobre caballete durante su residencia, parte de la coleccion de El Ganzo.