[DEC 2015/JAN 2016]

Since 2012 my work as a painter has evolved towards the creation of conceptual geometric constructions, where negative spaces are critical to render a multidimensional painting: an alternative level of reality. The intention is to defy the way we see things, to challenge the basic concepts of “what is reality” and what kind of realities painting can reveal. Semantics sets limits to the dimension of our experiences; my paintings are  potential routes into a further understanding beyond these communicative walls. The Intervention and Black Gold series of paintings are about energy and how they become expansive tools for perception.

Obsessed with multidimensional spaces, my body of work embodies a need to create atmospheres, not recognizable ones but rather spaces that reveal themselves in a peculiar, more poetic ways.

The creative process takes place within parallel bodies of work, developing these throughout large periods. This allows for some observations to be examined; entwined as fresh visual experiences into the work in progress.

The INTERVENTION series is a highly conceptual investigation on how the rhombus as a versatile geometrical shape can be altered to create symmetrical constructions that promote color interaction. Many theories of color are considered and applied depending on how vibrant or analog the expected result for each painting is. The simultaneous manipulation of contrast, vibration, tint and shades combine into a formal construction. Color in these paintings behaves like a static magnetic field, where observed color waves feedback into a magnetic continuum.

Choices are not based merely on aesthetic, but on the aims for powerful visual complexity that convey multiple dimensions. These static geometric shapes emerge from an ever-changing scrim, where depth is achieved without the use of any perspective or shading techniques.

Research for the Intervention series, was most influenced by the studies on chromatic interaction between analogous and complementary colors by Josef Albers in his series: Homage to the Square. Observing the work of Carlos Cruz-Diez, I find most intriguing not his compelling investigations in the MoiréEffect, but rather his approach to Chromatic Induction, in which proximity of a color can change its appearance to the eye. The creation of an Utopian geometry is one of the strongest influences by Peter Halley in my work.

Intervention has a structure of formal ideas that informs what is order inside the painting. What happens on the surface of the painting is as relevant as the background; and this complexity challenges our cultural geometrical references.

On the BlackGold series, real gold creates a vigorous organic backdrop. Negative space is crucial to the geometrical constructions; as is precision and symmetry to portray a compelling utopic construction.

BlackGold moves away from the conventions of form and content related to the material to induce a flow of communication between the work and the subconscious.

From a personal perspective, this body of work is a concretion of admiration for the sculptures of Alejandro Otero and my profound love to Franks Stella’s Black Paintings.

The limitation of language is a challenge where painting is most relevant. My work explores our awareness of those limitations; I don’t intend to translate into painted images what we already know, instead I want to bring new visual ideas through painting from a creative abstract approach to the static truth.

Pablo Griss