Pablo Griss, a contemporary minimalist painter hailing from Venezuela and a graduate of Columbia University’s School of Visual Arts in New York, currently resides and creates in Berlin. Delving into the realm of painting, the artistpassionately explores the visual manifestations of energy: encompassing magnetic fields, radiation, resonance, currents, and electromagnetic waves. Griss’s artistic vision unfolds through a meticulously curated color palette, precise lines, clear contours, and an exquisite sense of balance, resulting in an elegant precision that captivates the observer. Each stroke exudes a potent energy, drawing viewers magnetically toward the canvas. Beyond the aesthetic allure, Griss’s work delves into the intersection of physical phenomena and existential contemplations. Utilizing contrasts such as black and white, repetition, and symmetry, Griss synthesizes these elements on the canvas to evoke the image of a “magnetic field.” For him, the fascination with negative space expands the horizons of artistic expression, offering multidimensional possibilities within his compositions. This void within the “darkness” beckons viewers to embark on a journey of contemplation and imagination, transcending mere representation to transform the painting into a conduit for deeper reflection and exploration of ideas.

SLITHERED

Sweet Violet Sweet was a captivating series characterized by a prominent red stroke suspended in the heart of each canvas, set upon a meticulously prepared surface. At times, Cy Twombly incorporated collages utilizing diverse pages sourced from art magazines or newspapers, while in other instances, the surface was adorned with rusted copper sheets, silver, or even gold leaf.

In his untitled Bacchus series, Twombly delved into the potential of his own reach and the fluid motion of the brush, employing a velvety red pigment. There exists a paradoxical elegance in the effortless flow of his movements—a deliberate fluidity that engages the entirety of the artist’s being, yielding rhythmic compositions with distinct gravitas within these expansive works. For instance, in Slithered, Twombly envisioned a mental map of these strokes, meticulously constructing them with geometric precision. Each structured mark, reminiscent of expressionist brushwork, breathes life into the canvas, evoking a sinuous red current that meanders through the mind’s eye.

Pablo Griss’s evolution as a painter cannot be denied, even as he currently embraces geometry and crisp edges as vehicles for dialogue upon the canvas. The paradox lies in the marriage of structured form with fluidity—a metaphysical dance with the tangible world. The crimson expanse of Slithered beckons viewers into a profound communion with their subconscious realms. Here, the mind shapes reality, yet through immersion, the relationship between painting and observer transcends mere illustration or interpretation, delving into the depths of our collective unconscious, often dulled by the routines of daily existence.

Griss’s works stand as a response to both classical and contemporary mannerisms in art, preserving their essence while eschewing cold formalism or mere optical trickery. With Slithered, there resounds a poignant ode to the metaphysical interplay of presence, substance, and the very surface of painting itself. In selecting the title, Griss was reminded of a cherished quote from Francis Bacon, expressing a desire for his paintings to bear the traces of human passage, akin to a snail leaving its ethereal trail. Indeed, these paintings pulsate with the essence of human presence, structural imprints imbued with the ineffable soul of the artist.

COLOR DIAMAGNETIC FIELD

Diamagnetism embodies a subtle form of magnetism wherein a material displays a gentle repulsion in the presence of an external magnetic field. This phenomenon emerges from the existence of unpaired electrons, which generate a current opposing the magnetic field. In my series, I intertwine the structural elements of color field paintings with the dynamic interplay of colors that naturally repel each other. By orchestrating a dialogue between analogous and complementary hues, I craft a rhythmic composition that eschews a singular focal point, instead beckoning the viewer’s gaze to dance freely across the canvas. Through this immersive experience, viewers find themselves engaged in a nuanced conversation with the artwork, each encounter sparking introspective contemplation. Could it be that the painting serves as a catalyst for this contemplative state of mind? The reflection that ensues is a testament to the profound encounter between viewer and art.

COLOR MAGNETIC CONTINUUM

The artwork unfolds through a meticulous process involving the application of numerous delicate layers of magenta acrylic paint upon Belgian linen. Special brushes are employed to achieve a seamless color saturation, resulting in a smooth and expansive color field. Throughout this creative journey, Griss masterfully integrates the principles of Kinetic art, deconstructing its traditional codes and infusing the canvas with pulsating cycles that amplify the vibrancy of colors and materials. The perceived fluidity within the artwork serves as a visual homage to the sublime rhythms of nature, echoing the harmonious integration and energetic resonance found within natural phenomena. Each stroke, imbued with reflective properties of color and intensified by the play of light and energy, contributes to the creation of a unique architectural geometry. These paintings evoke a sense of nostalgia, reminiscent of fleeting moments captured within the continuum of time—a symphony of energetic exchanges akin to the gentle caress of a breeze or the rhythmic undulation of ocean waves. In the silence that envelops the observer, the depth of these encounters resonates profoundly. Through his art, Griss transcends the tangible, delving into the intangible cadences that underpin our existence—the intricate patterns of beats, pulses, breaths, steps, and encounters that shape the fabric of our being. Each canvas becomes a portal to a realm where these fundamental rhythms intertwine endlessly, weaving a tapestry of existence woven from an infinite spectrum of frequencies unique to each individual.

KINETIC DECONSTRUCTION

In the realm of art, there exists no substitute for dedication and mastery of technique. True artistic freedom is attained through the meticulous honing of one’s craft, while reliance on gimmicks merely serves to confine creativity.This series serves as a synthesis of the formal elements and techniques employed by both Kinetic and Op art artists. By stripping away the superficial gimmicks associated with these styles, the artworks are transformed into contemplative windows, inviting viewers into a journey of self-awareness. Freed from the distractions of flashy techniques often associated with Kinetic art, the essence of the pieces resonates deeply, fostering a more profound connection with the observer.

FROM SURFACE TO PAINTING

Pablo Griss delves into the boundless realm of energy and its intricate qualities through his artwork. Drawing from his background in Engineering and Applied Sciences at Columbia University, he embarks on a journey exploring magnetic fields, radiation, resonance, currents, and electromagnetic waves. However, Griss does not seek to merely depict these phenomena on canvas or elucidate them as mere physical processes; rather, his aim is to probe the profound connections between these tangible forces and his inner existential reflections.

Within his creations, Griss synthesizes contrasts such as black and white, repetition, symmetry, and asymmetry, weaving them together to form a visual tapestry reminiscent of a “magnetic field.” These compositions pulsate with vibrations, evoking phenomena akin to electric currents coursing through the artist’s being and manifesting within the paintings. Eschewing traditional three-dimensional representation techniques, Griss opts instead to explore the vast multidimensional possibilities of painting through the strategic use of negative space. Initially overshadowed by his meticulously crafted objects, these negative spaces gradually emerge as portals to new realms of perception, inviting spectators to contemplate within their enigmatic depths.

The dialogue within Griss’s work extends beyond its visual aspects and is deeply intertwined with his creative process. He approaches his craft with the meticulousness of a true painter, layering negative spaces with paint, infusing them with luminosity, and juxtaposing them against carefully placed structures to evoke a sense of vibration. While his techniques may echo those found in Kinetic or Op Art, Griss transcends mere graphical mannerism. Trompe-l’oeil effects, reverse contrasts, and virtual movements are employed with subtlety, serving to deepen the viewer’s engagement rather than dominating the composition. Indeed, Griss harnesses these elements to reveal deeper layers of meaning, pushing his art beyond the confines of visual impact into realms of profound transformation.

For Griss, the true essence of painting lies in its capacity to transcend its two-dimensional surface, guiding the observer towards elevated planes of perception and imagination. Through his work, he seeks to instigate a transformative experience that surpasses literal or conceptual narratives, leaving an indelible mark on the soul of the beholder.

Solo Exhibitions (selection)

2023 Razón Abstracta. Reset Gallery. Caracas, Venezuela.
2022 Luisa Catucci Gallery, “Intervention” Berlin, Germany.
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.