Through painting, I explore the visual possibilities of energy and its qualities: magnetic fields, radiation, resonance, currents, and electromagnetic waves. These phenomena have been of interest to me, as abstract concepts to visualize, since my studies of Engineering and Applied Sciences at Columbia University; my aim is not to illustrate them in painting or explain them as physical processes or diagrammatic interpretation, an equation.

I am interested in how these physical phenomena connect with some of my inner existential musings; looked at closely; most of our behavior reflects these incidents. These metaphysical concepts undoubtedly permeate my painting, together with those questions that live within me and relate to life itself. I speak of metaphysics from a philosophical angle, contemplating what happens beyond the material. In my work, contrasts such as black and white, repetition and symmetry are synthesized in the retina and shown on the surface of the painting; as the image of a “magnetic field”: vibrations beyond sheer visual effects, are themselves the phenomenon. All these electric currents surpass my body and manifest in the painting. We are beings in a material world where these phenomena are part of us and our interactions.

I recognize an obsession with the negative space that broadens the multidimensional possibilities in my work. Initially, the object usually overshadows the subtly powerful negative space. Still, that negative space opens new perception windows at a subconscious level, outlining a more transcendental experience than the typical figure and background. The negative space from within its “darkness” invites us to another field where we can dream or ponder; it allows us to travel and make the painting more than a representation of an idea or a subject. This dichotomy, presented by the ambiguity of relevance, shows that space annulment is not possible. The possibility of unfolding this space is crucial in my quest as a painter; it is where the answers offered by the dialogue with painting are sheltered. I deeply believe in the power of ontological transformation that painting offers, this transformation is not triggered by responses but rather by the questions that the painting may raise.

I avoid catching the observer in a vain three-dimensional representation using resources such as chiaroscuro or horizons with vanishing points. I prefer that a concrete form evokes the sensation of multidimensionality, in which I propose other planes, not understood as physical planes, but rather as a transition to other realities.

Aside from its technical qualities and digital appearance, there is an element in my work that gives life to the painting, perhaps in a poetic way, trying to get away from the formal graphic structures. I enjoy traveling these uncharted dimensions. When painting ceases to be governed by the usual elements as conceptualization through illustration, the use of coordinates, or the vehement obsession with the object, is when painting acquires epic importance.

I understand very well the “gimmicky” features on the surface of Kinetic artworks and Op art, sometimes I steal some ingredients from those movements, not for the expected optical illusion, but to induce a deeper penetration into the work. I could say that I like to deconstruct these gizmos to draw out the more interesting significance and discover values beyond their visual impact.

The evolution within my work has occurred naturally. Observing daily with a constructively critical approach, embracing possibilities instead of canceling them, is a process in which I continuously ponder and continually edit my work. I understand painting as a path to self-growth, which offers the answers I am unable to find in the plane in which I live, it is a reflection of life, perhaps a product of what I have been, what I am at this moment and how I imagine myself in the future.

Painting allows me to be a chameleon and transform myself endlessly; it may be that in an ego-monographic way, painting is my letter of introduction. Painting is like living, in the way you learn from mistakes and differences.

I undertake geometry being careful not to fall into “graphic mannerism”, my interest focuses on the values that can be communicated and transcended poetically through painting. My painting is a strong presence that does not offer any literal or conceptual narrative. My work is not concluded on the surface; it covers much more. Yes, it is a two-dimensional surface, but it can take its observer to other non-ordinary planes outside known reality. This is where a painting shows its most significant value: when it transforms from within.

Pablo Griss, 2018

Education
1992 – 96 B.A. Columbia University, New York, School of Visual Arts.
1990 – 92 Columbia University, New York, School of Engineering and Applied Sciences.
1988 – 90 Universidad Metropolitana de Caracas, Business.

Solo Exhibition (selection)
2021 BlackShip Gallery, “Paintings 2016-2020” Miami, FL. U.S.A.
2018 Galerie Weihergut, “Reflexion”. Salzburg, Austria.
2016 Galeria PUNTO, “Resonance”. Valencia, Spain.
2015 RANIVILU Art Gallery, “Magnetic Interference”. Miami, Fl. USA.
2014 RANIVILU Art Gallery, “Intervention”, Miami, Fl. USA.
2014 DGAG Contemporary “Blackgold”, Panama, Panama
2014 Klaus Steinmetz Contemporary, INTERVENTION Ezcazú, Costa Rica
2013 DGAG Contemporary “ Intervention”, Panama, Panama.
2011 DGAG Contemporary, “Flatline”, Panama, Panama.
2009 DGAG Contemporary, “Sweet Violet Sweet”, Panama, Panama.
2003 606-Caracas, “En piedra”. Caracas, Venezuela.
2001 Open Studio, “ Raices”, Caracas, Venezuela.
1999 Museo Casa del Tesoro, “Soy un árbol”, Coro, Edo. Falcón, Venezuela.
1998 Galería BANAP, “Al pie del árbol”, Caracas, Venezuela.
1995 Soo Kyung Gallery, “Recent Works”,The Soho Building, New York, USA.
1994 Dodge Hall, “Welcome Le Roy Neiman”, Columbia University, New York, USA.
1994 “ARTIFICE”, Venezuelan Embassy, Washington DC, USA.
1993 Soo Kyung Gallery, “Self -Self Portraits”,The Soho Building, New York, USA.

Group Exhibitions / Art Fairs (selection):
2020, GISELA Freier Kunstraum Lichtemberg, ” 2. Internationale DADA Mese” Berlin, Germany
2020, Gallerie delle Prigioni “When the globe is home”, Treviso, Italy
2018 PAN, Galerie Martin Mertens. Amsterdam, Holland.
2018 Galeria Space Blanc. “Geometrias 2” Caracas, Venezuela.
PabloGriss Geometria 2 2018 2018 Vienna Contemporary, Galerie Weihergut. Vienna, Austria.
2018 No place/ Like Home – Berlin Gallery Weekend 2018 – Berlin, Germany.
2017 Museum MAAA, “GEOMETRIAS”, Acarigua, Venezuela.
2017 Art Lima 2017, Klaus Steinmetz Contemporary. Lima, Perú.
2016 Art Hamptons, Mindy Solomon Gallery. Bridgehampton Museum, NY. U.S.A.
2016 Art New York, RANIVILU art Gallery. New York, NY. USA.
2016 Art Lima 2016, Klaus Steinmetz Contemporary. Lima, Perú.
2016 Art Wynwood, RANIVILU art Gallery Miami, Fl. USA.
2015 HFAF 2015, RANIVILU Art Gallery. Houston, TX. USA.
2015 Art Lima 2015, Klaus Steinmetz Contemporary. Lima, Perú.
2015 London Contemporary Art Fair, Beers Contemporary, London, UK.
2015 PINTA MIAMI 2015, RANIVILU art gallery, Miami Fl. USA.
2015 “Irreverent”, RANIVILU Art Gallery, Miami FL. USA.
2015 “Color Motion”, RANIVILU Art Gallery, Miami Fl. USA.
2014 VALOARTE, Ezcazú, Costa Rica.
2014 PINTA MIAMI 2014, RANIVILU Art Gallery, Miami FL. USA.
2014 100 Painters of tomorrow, ICA London, UK.
2013 Artspot Art Fair Miami, Aldo Castillo Projects, Miami, Fl. USA.
2013 ArtBo 2013, Klaus Stenimetz Contemporary, Bogotá, Colombia.
2013 “AU” BEERS.LAMBERT Contemporary, London, UK.
2010 Museo de arte contemporáneo MAC, Feria de Arte. Panama, Panama.
2010 “002 TEXTURA” DGAG Contemporary, Panamá, Panamá.
2008 “Son 4 ” DGAG Contemporary, Panama, Panama.
2005 “Técnicas Mixtas”Galería Espacios Infinitos, Caracas, Venezuela.
2001 Ateneo de Valencia, 59 Salón Arturo Michelena, Valencia, Edo. Carabobo, Venezuela.
1998 Ven-Arte, Corp-Banca, Caracas, Venezuela.
1995 Arquideco Art Gallery, Coral Gables, Miami, Fl. USA.
1994 Robenson Center Art Gallery, “Latinos Invitados – Arte Latino”, Newark, New Jersey, USA.
1993 The Venezuelan Center, “Venezuela + 1 Artstorming”, Venezuelan Consulate, New York, USA.
1993 Montauk Gallery, Brooklyn, New York, USA.
Publications:
100 Painters of Tomorrow.(Book 2014) Editorial: Thames-Hudson/ New York
Private Collections:
INDUSTRIAS BEROL, Caracas, Venezuela.
CERVECERA DEL CENTRO, San José, Costa Rica.
BANESCO BANCO, Panama, Panama.
LUCIANO BENETTON COLLECTION, Italy