Yolanda González is a Chicana painter that has been active within the art world since the late 1980’s. González is the daughter of Mexcian immigrants from Torreón, Coahuila and was born in Montebello, California in 1964. To the public her artistic endeavors began at the cusp of her high school graduation when she was encouraged by her teachers at San Gabriel Mission High to enter an art contest. González not only recognizes that the support she received at this point in her life was pivotal to the development of her passion, but she also won the competition. Such competition was organized by the Pasadena Art Center College of Design and granted González a scholarship to pursue her art education there. Shortly after she joined “Self-Help Graphics” where she was able to gain more experience alongside other Chicanx artists.
At 23 González debuted her first exhibit, one of many more to decorate her career. Her art work has been displayed in many countries, including: France, Italy, South Africa, Russia, Scotland, México, the United States, and Spain. The museums that house her art are Laguna Museum, Armand Hammer Museum, Bermudez Projects, Cultural Center, Museum of Contemporary Art (MOCA), Vince Price Art Museum (VPAM), among others. Early in her career she also underwent two art residencies, the first one in 1998 in Ginza, Japan and the second in the following year in Assisi, Italy.
However, as mentioned above, this has been what the public has been able to witness. In reality, González's artistic heritage and beginnings start in 1877 with her maternal great grandfather. When he was seventeen years old he began his own artist origin, creating realistic portraits with pencil. Although González could not meet him, González’s grandmother told her greatly about him. Her father had instilled in her his interest in art and she also created portraits throughout her life. Her grandmother then nurtured the interest González demonstrated from a young age. González’s mother seems to not have had the same inclinations in her younger years, but at 83 years old she took on ceramics (a craft González has also delved in recently). The four generation story was detailed recently at the VPAM in the exhibit titled “Sueño de Familia | Dream of Family,” showcasing art from González’s bloodline.
When González is not in her studio creating art she is involved within her Los Angeles community by hosting workshops. As of late, she instructs a ceramics art class in AltaMed for the senior citizens, many, if not most, who have never delved into any artistic outlet throughout their lives. Another class she hosts for the senior citizens focuses on watercoloring. As of late she has rekindled her love for guitar, reforming the band she was a part of in the 1980’s.
As for her recent art projects, her 2020 series “Metamorphosis II” is a continuation of her 1995 “Metamorphosis.” The continuity of the themes is evident, from the colors—which themselves are starkly different from her other pieces, which tend to be wildly colorful—and the bold strokes. Additionally, the intention behind these works is the same, both were inspired after deep loss. “Metamorphosis” was conceived during her art residency in Ginza, Japan after the death of a close friend, allowing her to explore mortality. Unfortunately, González revisited the ideas she harbored back when she was 29 again after the loss of her mother, Yolanda López González, and the effects of the pandemic, as well.
González’s art shows influences from German Expressionism, clearly seen from the emotion that is conveyed through her pieces, the Chicano movement, in the bright colors and occasional iconography (she particularly like to revisit the sacred heart), and Van Gogh, citing a particular affinity in the movement created in his pieces, as well as the texture on the canvas.
For the sake of length, I will be including a link to a Google document that contains my citations: https://docs.google.com/document/d/10fMl-n6--B_u3j3dGMn6X17lFYIp4iYbWjb_pzxchug/edit?usp=sharing
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