The trajectory of Miguel Ángel González gravitates and unfolds between a multiplicity of artistic disciplines and practices that stem from his passion for dramatic art. At the age of 23, he decided to move from his native Geneva to Barcelona, determined to study academically at the Constantine Stanislasky studio. Since then, his involvement in projects such as the founding of the Banana Factory cultural center or his forays into the field of short film in super 8 and performance, demonstrate that restless spirit and eagerness to explore new creative fields that, from the nineties, They led him to immerse himself in the design of lamps. In them, he found a means in which to combine the experiences and knowledge acquired throughout this background that, in his creative commitment, he undergoes continuous renewal.
To understand the idiosyncrasy of his designs, it is vital to know his deep-rooted link with the cinematographic and theatrical world from which a multitude of references are born that meet in each of his lamps. Attracted since his adolescence by the assembly processes of machinery, he begins to collect disparity of pieces of an industrial nature that combined together will give shape to his designs. In the artist's hands, the meaning of the object acquires a new dimension that has its roots in the industrial aesthetics of films such as Terry Gillian's Brazil or theater companies such as La Fura dels Baus, where he would collaborate. In this regard, the fragmented pieces that are interwoven under a robotic and machinist appearance, turn their lamps into artifacts that could well have appeared as props in the futuristic feature films of the 1950s. However, in his creative development close to artisan production, he is radically opposed to the dehumanization and serialization that the industrial model entails. .
In each of his surprising creations, Miguel Ángel refers us to the idea of beauty inaugurated by the French poet Lautramont and later used by surrealist artists according to which beauty lies "in the fortuitous encounter of an umbrella with a sewing machine in a dissection table ". Starting from this approach and without renouncing the utilitarianism intrinsic to the created object, Miguel Ángel incorporates human emotions, organic forms and the irrational world to a diversity of pre-existing objects that, in their unusual associations, are reborn as metaphors. From this point of view, the ability to create atmospheres and environments that directly influence our perception transform this object into the ideal vehicle through which to give life and soul to a series of pieces that individually would be inert.
Adding to its aesthetic and functional aspects is the ethical component intrinsic to the act of recycling. Instead of hiding the defects and imperfections of reused objects or materials, their lamps manifest and celebrate the capacity for resilience and adaptation. In this sense, the germ that underlies the creative process carried out by Miguel Ángel, connects with the Japanese philosophy Wabi Sabi around the beauty of the imperfect. In counterpoint to the traditional Western aesthetics based on perfection, he advocates a beauty that arises from incomplete, humble or defective things to place special emphasis on the idea of the passage of time as something natural and in its own way, beautiful. As in his lamps, defects, asymmetries and roughnesses are highlighted to rediscover the beauty of the authentic.