The editorial categories are research topics that have guided researchers during the recovery phase and continue to be the impetus behind the Documents Project’s digital archive and the Critical Documents book series. Developed by the project’s Editorial Board, each of the teams analyzed this framework and adapted it to their local contexts in developing their research objectives and work plans during the Recovery Phase. Learn more on the Editorial Framework page.
Based on personal interviews and archival documents, María Masud examines the creative process of Cuban-born, Chicago-based painter and sculptor Eladio González in relation to his life—in both Cuba and the United States—his personal values, and his background as the son of a Chinese father and a mother of African and Spanish heritage. Masud makes the argument that the diverse ethnic heritage of González’s background is reflected in his artwork. González, in turn, explains his creativity as “el ocio creativo” [the creative leisure] a process in which, he says, “. . . [I] let my hands follow my subconscious designs.”
The Chicago-based painter and sculptor Eladio González was born in the town of Itabo in the province of Matanzas, Cuba, in 1937, as the youngest of eleven siblings in a family interested in painting and literature. González attended the Escuela de Artes Plásticas de Tarascó [Tarascó Visual Arts School] in Cuba in 1956 and later attended the Academy of San Alejandro in Havana where he became professor of drawing and sculpture in 1962. As a member of the Consejo Nacional de Cultura de Cuba he worked as a sculptor for the Teatro Nacional. After traveling during 1967 to Spain and Paris, on May 12, 1968, he settled in Chicago, where he attended the School of the Art Institute of Chicago. He received a Cintas Fellowship in 1979–1980 to study in Madrid and Paris. González identifies himself as Cuban-Afro-Chinese.