Born in Lima in 1995, Gonzáles is a multidisciplinary visual artist whose practice examines the family as one of the first spaces where affection, hierarchy, obedience, and desire are learned. Through domestic archives, family photographs, commemorative objects, intimate testimonies, and everyday materials, she explores how love and care are shaped by social norms, rather than existing solely as private experiences. From a Latin American perspective, her work addresses the legacy of Spanish colonization and the structures it established — racial hierarchies, patriarchal family models, Catholic values, and unequal systems of power — understanding colonialism not as a closed historical period, but as a set of structures that continue to shape contemporary life. In her own words: “My work questions how the affections we perceive as personal are structured by political histories that continue to shape the way we relate to one another, love, and construct our sense of belonging.” Gonzáles studied Painting at the Faculty of Art and Design at the Pontificia Universidad Católica del Perú (2020), Editorial Illustration at Instituto Toulouse Lautrec (2017), and Art Direction at IPAD (2024). Her solo exhibitions include Ese puerto existe (2026), at Association NOEMI–Espace Browstone, Paris; Algo parecido al amor (2026), curated by Max Hernández Calvo at ICPNA Cultural San Miguel, Lima; Zona de promesas (2025), curated by Max Hernández Calvo at the Museo Metropolitano de Lima; Beautiful boy, you were a mix of honey, mint and pink (2023), at Soon Gallery, Zurich; Antes que se acabe el café amarillo (2023), curated by César Augusto Ramírez at GINSBERG, Lima; GOMENASAI (2022) and Alimentos para ser saboreados bajo una piñata de crepé (2021), both at Fugaz, Callao; as well as Negociaciones de pica y pica (2020), at Galería del Paseo, Lima, and Nadie me enseñó a decir no, ahora canto todos los días (2020), at Fugaz, Callao. She has participated in numerous group exhibitions in Peru and abroad. Recent exhibitions include A Peruvian House (2026), curated by Matheus Calderón at Somers Gallery, London; Becoming Fertile Material (2026), curated by Ana Mendoza at Espacio Encuentro, Lima; In Transition (2025), curated by Hands on Art Projects at AMP Gallery, London; Cielos (2025), curated by Marea Alta at Coleccionista, Lima; Trazos invisibles (2025), curated by Ubicuo Projects at the Alianza Francesa in Piura; Caída libre (2025), at Casa Bulbo, Lima; Instantes (2025), at Galería El Local, Madrid; and Pasado desfigurado (2024), at the Casa Nacional del Bicentenario, Buenos Aires. Her practice also includes exhibitions and projects such as Paralelxs, Casa Preludio, Recorrimos 4714 km para darnos un abrazo, Plaything/Play thing, Sacra, Tensiones Generacionales: entre lo contemporáneo y lo hiper contemporáneo, Trama Coral, Las olas pasan y las piedras quedan, VUSCO VOLVVVER, Premio ICPNA Arte Contemporáneo, La Carnicería Vol. VI, Aquello que es ajeno, Grau Collection, Feria de las Artes, Myopia Fest, Transformaciones, experiencias, recuerdos, Ensayo/error, Colaboración eficaz, Mirar fuego, Sensaciones del bosque, and Eres más, presented between 2017 and 2023 across art spaces and projects in Lima, Callao, Buenos Aires, Mar del Plata, Madrid, and other cities.