SELECTED WORK DINA GONZALEZ MASCARO
DINA GONZALEZ MASCARO
“inside-out” 22” x 30” Charcoal and graphite on paper series: Holes and Energy
“the shooting absences” 22” x 30” Charcoal and graphite on paper series: Holes and Energy
DINA GONZALEZ MASCARO
DINA GONZALEZ MASCARO
“little room up” 22” x 30” Charcoal and graphite on paper series: Rooms
“window” 22” x 30” Charcoal and graphite on paper series: Rooms
DINA GONZALEZ MASCARO
DINA GONZALEZ MASCARO
Vessels #3 22” x 30” Charcoal and graphite on paper series: Vessels
Vessels #1 22” x 30” Charcoal and graphite on paper series: Vessels
DINA GONZALEZ MASCARO
DINA GONZALEZ MASCARO
Vessels #2 22” x 30” Charcoal and graphite on paper series: Vessels
Vessels #8 32” x 40” Charcoal on paper series: Vessels
DINA GONZALEZ MASCARO
DINA GONZALEZ MASCARO
Second Cave 42.5” x 42.5” Charcoal and graphite on paper series: Dark
Womb Mountain 60” x 96” Graphite and acrylic on panel series: Dark
DINA GONZALEZ MASCARO
DINA GONZALEZ MASCARO
Mountain Interior #1 120” x 78” Acrylic on canvas series: Dark
“deep in the mountain” 42” x 50.5” Charcoal and graphite on paper series: Dark
DINA GONZALEZ MASCARO
DINA GONZALEZ MASCARO
Wooden Beams 42” x 36” Charcoal and graphite on paper series: Dark
Wooden Form Mountain 50.5” x 65.5” Charcoal and graphite on paper series: Dark
DINA GONZALEZ MASCARO
DINA GONZALEZ MASCARO
Alone 50.5” x 63” Charcoal and graphite on paper series: Dark
Dina González Mascaró was born in 1965 in Argentina. The artistic one of a pair of identical twins, taken with drawing from an early age, her parents sent her to drawing classes with a local teacher. While constantly expressing herself in two dimensions, she was also impacted by architecture and the sculptural forms of the city. As a teenager, González Mascaró made a habit of bringing home architectural rubble from the streets, painting it white and piling it up in her room. Later, from 1982 to 84, while living under the dictatorship, she was part of “el grupo de 13” a group of young intellectuals who would meet clandestinely in an abandoned Marxist library to read books that had been deemed illegal by the state. In 1984, she moved to La Plata, the political capitol of the Buenos Aires province, to study and receive her Masters of Fine Arts (Sculpture Major) at UNLP (Universidad Nacional de La Plata), Buenos Aires. While working on her thesis in sculpture the head of the drawing department offered her a teaching position, trying to pull her back to drawing, but at that moment sculpture was her passion. González Mascaró taught Sculpture and Metalwork at the Faculty of Fine Arts at UNLP from 1998 – 2001. In 2000, she won Argentina’s National Art Prize, the Premio Antorchas, and was awarded a residency at the Banff Centre for the Arts. In the fall of 2001, she came to Vancouver as an artist in residence for one year at the Western Front artist-run-centre. Since that time, González Mascaró has made Vancouver her home. In 2004, she co-opened the answer, a space dedicated to exhibiting works by emerging artists. In 2011 she became a Canadian citizen. Dina González Mascaró is known as a multimedia artist, but in recent years has returned to her first love, drawing. Lately she is working on big and small format drawings: rich masses of black and white charcoal and graphite. She can be found in her East Vancouver studio. Vancouver, 2017
DINA GONZALEZ MASCARO
STATEMENT As a sculptor, my work is always an exploration of volume, regardless of the medium. Volume is worked via themes of structure, architecture, construction, demolition, nature, decay, memory and loss. My ideas are expressed in drawing, painting, sculpture, installation, and objects. My latest work comes following the death of my mother, the greatest and most personal loss I have experienced. Drawings in the series “holes and energy”, “dark” and “rooms” are a result of the exploration of that loss. Through a study about how space / landscape shapes and defines the human psyche, this work is inspired by the “Womb Mountains” of Asia. Like the pilgrims, who, seeking answers, enter these mountains and pass through small claustrophobic and obscure caves to find transformation, I went “inside” my own (drawn) mountains with the same objective… to navigate an obscure period, using a repetitive action as my meditative path: drawing. Drawing as a way of dealing with death, drawing as a potential source of answers, drawing as a way to traverse a great sadness. In these drawings are multiple perspectives, and open and closed spaces, places of refuge and places on the verge of collapse. The development of this body of work began with piles of structural elements forming mountains and evolved, breaking down into rooms (spaces within the mountains, within oneself) and then into a more metaphysical space of holes and energy.
DINA GONZALEZ MASCARO
WWW.DINAGM.COM
DINA GONZALEZ MASCARO
Vancouver, 2017