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Maria-elena-gonzalez1_620_300
María Elena González:
(h)ear labyrinth
$1500.00 plus shipping & handling*

María Elena González: (h)ear labyrinth
2003
Flexible translucent resin
15 × 11 × 1/2 in
Art in General Limited Edition of 20
Courtesy the artist and The Project, New York

María Elena González’s (h)ear labyrinth is a model for the inner workings of the body, in particular, the human ear. The work is cast from a silicon mold and made of flexible, translucent resin. Born in Cuba, María Elena González creates sculptures that reinvent classical elements, often focusing on family and memory.

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Lina Alfonso at email: social@artingeneral.org or tel: 212-219-0473 ext.105.


Maria Elena González uses simple geometric forms and industrial materials to create sculptures, installations, and outdoor architectural interventions. “My interests with the tactility of sculpture and the primacy of form, the allure of materials and craft, and recombining materials and ideas, are of a primary nature to me,” she says. González subjects architectural symbols, blueprints, and other techniques of coding physical spaces to a minimalist vocabulary, exploring themes of poverty, death, and memorialization. She received widespread recognition for her site-specific outdoor sculpture Magic Carpet/Home (1999), for which she replicated the floor plan of a six-room public housing unit on a “magic” carpet installed in a nearby park, subverting the constrictive nature of the unit into an open site for play.

In her Art in General site-specific installation, María Elena González has fastened stretched rawhide to the side and bottom of the window space using heavy wire, turnbuckles, and painted wood shapes. This installation acts as a metaphor for the state of current affairs, referring to the tension between countries and the breaking of borders. (Project Space: Apr 13, 1991–May 18, 1991)


María Elena González (Cuban, b. 1957) is based in Brooklyn, New York, and uses simple geometric forms and industrial materials to create sculptures, installations, and outdoor architectural interventions. González subjects architectural symbols, blueprints, and other techniques of coding physical spaces to a minimalist vocabulary, exploring themes of poverty, death, and memorialization. She received widespread recognition for her site-specific outdoor sculpture Magic Carpet/Home (1999), for which she replicated the floor plan of a six-room public housing unit on a “magic” carpet installed in a nearby park, subverting the constrictive nature of the unit into an open site for play.