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拍品專文
Gonzlez's ability and willingness to switch between the naturalistic and the abstract, between an entirely new instinctive abstracted style and a more traditional academic means of representation has disturbed some critics who feel that, having made a breakthrough into an entirely new arena with his constructed abstractions, Gonzlez should have rejected the rest of what had gone before. Yet as this intense self-portrait drawing from the last year of his life shows, for Gonzlez, either way of working was as valid and as important as the other.
In the same way that he could work on the entirely naturalistic sculpture of the Montserrat at the very same time as he was working on his most innovative and formally explorative sculpture Femme au Miroir, or that he could work on the Montserrats at the same time as his cactus figures, or indeed his stone carved heads at the same time as his 'drawing in space' iron constructions. Gonzlez could draw this carefully analytical self-portrait while also working on some of his most advanced designs for future constructed iron sculptures.
In the same way that he could work on the entirely naturalistic sculpture of the Montserrat at the very same time as he was working on his most innovative and formally explorative sculpture Femme au Miroir, or that he could work on the Montserrats at the same time as his cactus figures, or indeed his stone carved heads at the same time as his 'drawing in space' iron constructions. Gonzlez could draw this carefully analytical self-portrait while also working on some of his most advanced designs for future constructed iron sculptures.