A self-taught painter, or “from the Real Academy, the one upstairs”, as painter Modest Cuixart would say after seeing Xavier’s work at one of his first exhibitions. From the beginning he consistently made an effort to visit painters of the likes of Antonio López, Antoni Pitxot, Antoni Tàpies and the aforementioned Cuixart, amongst many others, something very important to him to stay focused and retain his vision.
After his first successful exhibition in Barcelona at the Gothsland Gallery in 2003, he made contact with collectors, critics and other people from the art industry who encouraged him to dedicate himself entirely to his work. Soon after in 2004 he set himself up in Berlin, exhibited at the Silberblau Gallery and discovered poetry in the process. Hölderlin, Paul Celan and Rilke would have a decisive influence on his future creations, however his most major influence is the music of J. S. Bach, “I only paint with Bach”, he says.
Dividing his time between Berlin and Barcelona up until 2007, he was encouraged to move to New York where he took part in group exhibitions and sold some works and was having some success when a sudden series of catastrophic events occurred in his life and he decided to leave for Cadaqués in the province of Girona and cut himself off from the world completely. He remained creative in his daily endeavors and finally after a year his work experienced something of a revelation resulting in an exhibition at the Sala de Arte Van Dick in Gijón in 2009. The exhibition was widely acclaimed and he managed to regain some of the momentum he had lost on his return from the United States.
A friendship that blossomed with the prestigious art critic, Carmine Benincasa, would lead to exhibitions in Venice, Milan and Rome. In a special issue on González’s work in Cahiers d’Art published in 2011, Benincasa wrote, “González d’Ègara’s work has given painting the breadth of cognitive and militant dimensions that Picasso did. He combines ideal and real, Dante and Manzoni. He has a unitary yet polycentric vision. He knows the real and human worlds. His works perfectly fuse narrative style and the thing narrated. He exalts the whole material universe as if he were looking at it with a pantheistic spirit. His painting rediscovers the historical and immanent origins of the Renaissance with the proto-Romantic soul of a Hegel or Schelling. His painting is a memory that becomes a future promise. His colors are fluid and have a sense of theatre in form, as well as syntactic dynamism, a sharp, critical edge and modern communication. He turns painting into architecture for historical narratives.”