Natalia Gonzalez Martin

Natalia González Martín’s practice has been primarily concerned with matter and the need of humanity to preserve it from the decay of time. Through the creation of fictitious organic and archaeological-like objects and their arbitrary classification, her work questions the precariousness of established values given to objects. Ownership and collecting become palpable in her practice.

The process consists on the observation of historical artefacts displayed in museums, followed by an analysis of those objects essentially on a physical level which she then reinterprets erasing this way any symbolic value from them, leaving the primal source unrecognizable. 

Due to their abstracted quality, the attention is dragged from the object displayed to the action of displaying. The isolated creations lack of context, consequently erasing any hierarchy between them, due to this, different layers of time and space merge together.

The process loads her work with historical, cultural and iconographic references that might necessitate deciphering. The resulting organic-like artefacts hint allegories to the human body, resulting into a depiction of ‘vanitas’ and ‘memento mori’, themes inherent and inescapable to the human condition.