Suggesting roiling collections of empty photo frames, sisyphean mazes, and stacks of grids and files, González’s works draw attention to both the emptiness within these structures and the aimless bureaucratic paperwork that predicates them.
Máximo González is recognized internationally for installations composed entirely of detritus and cast-asides, and he is known in particular for his work with devalued currency. González’s works in devalued currency propose a canny political critique in the form of the subverted materials from corrupt power structures.
Ribeiro’s hand-worked wooden quilts speak to the merging of cultures that is a primary facet of contemporary life, as well as the changing conceptions of communication and material that will shape our planet’s future. Minimalist compositions of pattern and form suggest a complex historical and cultural background in the works of Máximo Gonzálezand Ato Ribeiro.
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