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Joy is the strongest form of protest; a smile is a statement against tyranny, and a hug is a fight against loneliness. But if we are not allowed to love, laugh, or embrace, we will protest with stones.
Cheo Gonzalez grew up in a dark era, with the media controlled by one of the bloodiest dictatorships in history. This sparked his interest in the interaction between institutional communication and popular response. The artist believes that the graphic noise of public places such as walls, bus stops or public bathrooms is a social, popular and collective response. A phenomenon that, despite being unconscious in its entirety, has intention, aesthetics and can be called art. For the artist, the use of these spaces where censorship, pornography and propaganda intersect is directly related to the identity of the people. The messages on the walls, despite being public, keep their individual and collective authors secret, validating their sincerity through anonymity.
Cheo Gonzalez tries to reproduce this dialogue, exposing images in public places, and then taking them back to the studio, restoring and intervening them, and sticking them back on the street with the intention of generating a dialogue with the anonymous collective.
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