The work of Agustín González Goytía is presented as a territory of disparate encounters. A taste for the noble, the romantic and the applied arts as a theme meets compositional forms typical of comics and textiles. The love, of Fauvist heritage, for the delicate ironwork of a gate loses its celebratory character under an expressionist palette. Othon Friesz and Raould Dufy overlap with Alberto Breccia in the same stroke or in the corner of a
stain.
Painting is confused with drawing and acrylic, so dissolved, becomes a dyeing technique on unprepared canvas. A layered painting then appears, constructed with equal measure of chance and intention. That which overflows, that spreads and expands, becomes expressive matter for the painter and a new possibility for his fragmentary narrative. The result is a work that flees from its finished expression and that manifests a
embryonic spatiality under a precarious support. The fabric is presented as such and appeals to a tradition far removed from the mural heritage to shine in its ductile, absorbent and light materiality. A synthesis is produced between color and support that highlights the interweaving of threads and confronts the contemporary impossibility of knowing the object through its appearance due to plastic and artificial finishes. It is a painting that advances towards a spatial conquest without surrendering to an installation spectacularity and that resists from its narrative potential.