Text by Úrsula Ochoa.
There is unquestionably something latent and mysterious in the paintings of Mauricio Gómez that tests us as viewers, something that questions a limited vision we have developed as a consequence of the noise of the world. This means, on the one hand, that to say that as a painter he has captured for years the “representation” of bushes and stubble, is too superficial a perception for what these works show. In reality, what the artist has achieved is to present us with his construction of a sensitive language on the complex, imperious and rebellious nature of these vegetal formations that seem to want to surpass the canvas, manifesting a need for expansion.
For the artist, those rebellious bushes grow, entwine and spread as they seek the light, and it is thanks to the light, that those lively colors emerge that he transforms on the canvas like an alchemist of color, while the fine and dense lines give character to the painting, and if we are attentive, we understand that the rebelliousness of these bushes is a metaphor with which the artist seems to reveal much of his personality from his “purism” with painting about the demands of a vertiginous and superficial time, insisting on the act of painting as his way of painting, is a metaphor with which the artist seems to reveal much of his personality from his “purism” with painting over the demands of a vertiginous and superficial era, insisting on the act of painting as his way of life, a quality of true painters who transcend the support and the material.
On the other hand, the lattices and lines sometimes appear as calligraphic gestures that turn his canvases into “secret letters” between the artist and art, “written” from a germinal knowledge that he has known how to cultivate and protect for years, just as he cultivates his crops and the vegetation of his environment; a knowledge that has turned his work into a semantics of nature, art and existence. Scrubis then the gathering of a series of declarations to art and to these habitats that preserve the imprints of his encounters, it is the reaffirmation of his correspondence with life from the knowledge of himself from his essence; the sensibility of understanding that he is also part of those bushes and, consequently, of the whole. That is, finally, as Leonardo proposed, to be a “universal” painter.