Sara González Sánchez invites us to explore the path from the mental image to the visual representation through the treasures that she has created to make up her particular cabinet of drawings.
In this retreat space, designed for the study and cultivation of knowledge, we can recreate a work of impeccable execution, bask in the delicate, sensitive and delicious result of his creative processes and delight in the pages of his pseudoanatomic treatise, which has baptized with an invented word, Mentographies.
Sara responds to a question that underpins the personal research project whose fruits she collects in this exhibition in which she proposes that each spectator, with her interpretation, make the work their own and generate a new, individual and unique mental image. In an exercise between play and visual poetry, his challenge consists of squeezing the drawing as a tool of thought to extract the juice with which to make visible the always disconcerting activity of the mind, in a whimsical interpretation of it, worthy of Fritz Kahn and his illustrations of the human body as a machine.
Sara protects and vindicates drawing in an increasingly technological society where the consumption, circulation and exchange of images erases the value that was given to each one of them in other times. For this reason, she chooses both paper and support when it comes to extracting them from their ephemeral sphere and transferring them to the field of the tactile and the palpable, such as the book format of anatomical treatises. Kandinsky maintained that all media are sacred, if they spring from the source of inner need. […] The true work of art is mysteriously born from the artist by mystical means.
Separated from it, it acquires a life of its own, becomes a personality, an independent subject who breathes individually and has a real material life. In her desire for autonomy, Sara's work also releases the hand of her author to awaken the curiosity of each one of us and allow us to fly free in the use of our imagination when contemplating it. From the subtlety of her careful compositions, the construction of visual metaphors and the elegant combination of layers of color and graphic resources that Freud would have called dreams or image puzzles, we open the doors to reflection on what is seen and what is imagined.
We do not want to do it, without leaving in the air a thought of Magritte with which it is easy for us to conclude this text: Like dreams, words and images are a deception that can tell a great truth.
Carmen Hidalgo de Cisneros Wilckens