Portfolio

Ana Martínez González

About

me

Ana Martínez González has a degree in Fine Arts from the

University of Castilla La Mancha, receiving a scholarship to the University of Athens within the Erasmus program.

Her interest in Art History leads her to complete her Bachelor's degree in Art History at the National University of Distance Education.

In addition, she has completed her studies with a Master in Artistic Production and Management at the University of Murcia.

She currently works as a teacher, being an official of the Ministry of Education and carrying out her teaching duties at a Secondary Education and bachelor of arts in a institute in Murcia.

Based on personal experiences, context and education, Ana addresses issues with a social and gender perspective in her work, taking into account life.

From a social and contemporary perspective with which one she usually works in an interdisciplinary manner using techniques such as engraving, drawing and sculpture, which allows him to establish visual metaphors with different languages.

Ana usually materializes her projects in installation formats where photography and cartography have an important presence.

Ana Martínez González

www.anamartinezgonzalez.com

ana.martinez14@murciaeduca.es

ESP (0034) 678429025

2023 - DISAPPEARED 1

2022 - MAPS

2021 - WHERE IS THE RIVER?

2019 - ÓXIDO

2018 - 47/2018

2017 - THE FRAGILITY OF NATURE

2016 - WHO PULLS YOUR STRINGS?

DISAPPEARED 1

2023

Serigraphy, artist research.

Murcia-Betanzos, Spain

As a teacher, I am notably struck by the absence of female artists in the extensive curriculum of Art Fundamentals II, covering artistic movements from the late 18th century to the 20th century. The question arises: How, in the 21st century, does a system persist in yielding a predominantly male, white, European, and middle-class representation in art?

My goal as an artist is to conceive a series of works exclusively featuring the names of women in a project titled "DISAPPEARED." This gender perspective initiative advocates for inclusion through a series of screen prints that pay homage to the artistic significance of figures like Dora Maar, Hilma af Klint, and Georgia O'Keeffe, among others. It serves as a poignant reminder of how women have been overlooked in art history.

By merging their portraits with their artworks, the project highlights the importance of recognizing and valuing female contributions to the development of art, which have long been relegated to oblivion.

Maps

2020

Printmaking and cartography.

Murcia.

The artistic piece titled "Maps" is a exploration utilizing the medium of engraving to depict the geographic features of two basins in a distinctive manner. Embracing the concept of a "mute map," the deliberate absence of labels beckons the viewer into a visual and contemplative experience. Delicate lines intricately delineate the network of rivers and watercourses, while textures and tonal contrasts breathe life into elevations and reliefs.

Engaging in its simplicity, "Maps" presents engravings that encourage the audience to interpret and navigate the topography without explicit guidance, fostering an intimate connection with the artwork. The juxtaposition of engravings from both basins highlights both similarities and differences, weaving a visual narrative that invites contemplation of the interconnection between these two hydrographic regions. The piece stands as an aesthetic journey transcending linguistic barriers, prompting viewers to explore the beauty and complexity of geography through artistic expression.

WHERE IS THE RIVER?

2020

Installation, sculpture, drawings.

Murcia. Museum of the university. Cuartel de artilleria

This project aims to reflect my perspective along the course of the Tajo-Segura transfer using three materials: water, land, and sheet metal. These have accompanied me throughout the route. Initially, my intention to compare my life journey with the river has evolved, discovering that each element of the path has its own voice, and material and human aspects converge and speak from their common origin.

It's evident that the infrastructure poses aggression to its surroundings in many aspects: the commodification of water, the wound on the landscape, the plunder of the land. But what does the material say, and what is our response?

The artwork is visually formalized through a multidisciplinary artistic installation comprising various elements that encompass different concepts. Bottled water speaks of its origin and prompts us to decipher its journey; the land invites us to discover its uniqueness; rust reveals itself as a trace of water. Ultimately, all elements lead us to understand the earth's incapacity to satisfy our insatiable demand.

47/2018

2019

Installation, sculpture, videoart.

Murcia. Cultural Center Puertas de Castilla.

The video installation 47/2018 (2019) is part of the collective thesis exhibition "Ni ventanera, Ni visitadora." In my proposal, I presented a series of iron pieces symbolizing the bodies of women murdered in 2018, using scrap as a medium.

The project featured a video drawing a parallel between the hydraulic press and the pressure victims endure from their abusers. Here, industrial machinery not only applies pressure to the material but also assaults it, symbolizing the suffering of these victims.

On the floor, 47 pressed pieces are arranged, made from discarded material that intriguingly takes shape and form once crushed by the press. The aim of this piece was to raise awareness of gender violence through symbolic language, attempting to humanize the victims by encouraging viewers to give them real names as part of the engagement with the artwork.

Óxido

2019

Installation, sculpture, photography and cartography.

Murcia.

"Oxide (2018) is an installation where the map of the Tajo-Segura transfer was drawn with ferric oxide on the ground in Murcia. The idea was to depict the map at a 1:100 scale by overlaying the layout on the asphalt, using the ground as a canvas to transplant one place into another, aiming to make visible, through a symbolic language, the reservoirs and relevant points of the Tajo-Segura transfer by bringing it to the streets.

Additionally, by utilizing rust as a pigment, a trail was left behind, creating an inscription on the territory—a ephemeral trace that fades over days but adheres to the ground like the imprint of water.

Oxide possesses certain properties that allow us to discuss the corrosion of the water's imprint on iron, a play of narrative and encoding intended to be deciphered. We use this to speak about pipes and irrigation, illustrating how these pieces, damaged by the passage of water, serve as a metaphor for how water has been corrupted as a currency through concessions and illegalities revolving around it.

In the background, there's the complaint of small-scale farmers in orchards and lands facing unequal treatment in distribution, as well as in areas where they cannot irrigate with water from the reservoirs due to concessions granted to large-scale agricultural exploitations."

The Strength of Fragility: An Epic of Nature."

2017

Analogic Photography

Albacete

This project symbolizes the interconnection between the fragility of nature represented by the eggs and the necessity to care for our environment, symbolized by the tools that could threaten that fragility.

Through visual metaphor, it emphasizes the importance of preserving ecology, inviting reflection on how our actions can directly impact the health of the environment.

The project aims to foster ecological awareness by presenting a symbolic narrative that connects the vulnerability of nature with our responsibility in its preservation, all encapsulated in the title "The Strength of Fragility: An Epic of Nature."

Artificial - Natural

2016

Analogic Photography

Albacete

That morning, afternoon, or night—it is not on this paper, but it is all I know of her, everything I am ignorant of about her; the sole hour of those lights that introduced me to her trees.

A flat landscape is a word, and the world a poem that spins in a mailbox nocturne. We have turned the world into a repeated postcard, the only one with light on the surface of forgetfulness, and now we need—uncertain of our existence—fragments that unveil fragments.