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Pablo Griss

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 […]

Pablo Griss

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 […]

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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 painting shows its most significant value: when it transforms from within.

I am fascinated by this transforming energy.

Pablo Griss, 2018

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