until 01.05. | #3335ARTatBerlin | Luisa Catucci Gallery presents from 4th March 2022 the exhibition INTERVENTION with paintings by the artist Pablo Griss.
The carefully researched colour palette, the strict lines, the clear contours, the balanced, elegant precision, the optical effect and the strong energy emanating from Pablo Griss’s paintings are the key elements that magnetically attract the viewer. His work is direct, without concessions to useless anecdotes, and straightforwardly hits the point where human consciousness meets the subconscious. It projects the viewer into a kind of parallel universe where the complete acceptance of the interconnection of everything is evident, accepted and manifested.
One of his most prolific and well-known series of works, “Color Magnetic Continuum”, which Pablo has been working on in recent years, began under the title “Intervention”, like the title of this exhibition. Pablo Griss fishes in the fertile art historical junctions of Minimalism, Kinetics, Neo-Geo and Geometry, creating his own visual language resulting from a series of “interventions” he wanted to give to his predecessors in order to free himself from the classical forms and visual tricks typical of these movements.
The use of classical squares, triangles and circles is replaced by diamond-shaped forms and lines that look like sharp knives or scalpels – as if the artist were directly displaying on his compositions the weapons with which he intervenes, cuts and deconstructs the classical codes of geometric art.
The colours are mainly used flat and compact, always carefully studied, in continuation of the research on colour of his predecessors – like those of his compatriot Carlos Cruz-Diez or Joseph Alberts and the Bauhaus school. The tones can be loud, bright and varied, in the tradition of his Venezuelan predecessors, or discreet, sober, monochrome or bicolour, as a contemporary revisiting of the aesthetic sense of minimalist compositions such as “The Mariage Of Reason And Squalor” by Frank Stella or Yves Klein’s “Blu Monochromes”.
The use of chiaroscuro or vanishing points – popular tricks for creating illusions in opt-art – are abandoned in favour of concrete shapes and colour changes that evoke a sense of multidimensionality in which the artist suggests other planes that are not understood as physical planes but rather as transitions to other realities. The brushstrokes are even and firm, like the physical manifestation of a strong yet sensitive will capable of transferring the common language of the entire universe onto the canvas: energy.
It is obvious that Pablo Griss is not interested in playing with geometric constructions, but in creating concrete and iconic works that radiate universal energy and its potential power to transform. On the other hand, magnetic fields, radiation, resonance, currents and electromagnetic waves and their philosophical and psychological implications are certainly phenomena that have deeply influenced Pablo Griss’ existence: from his studies in engineering and applied sciences at Columbia University to the way he sees and interprets life and human interactions themselves. In his paintings, these phenomena manifest themselves not as diagrammatic, illustrative, scientific reproductions, but as a minimalist, synthetic interpretation of their humanistic facets.
This explains the feeling of seeing something new, yet familiar, when engaging with Griss’s work, although it is the undeniable power of painting that carries the viewer along, beyond one’s will, taste, knowledge or education.
Pablo Griss (born 1971 in Caracas, Venezuela) graduated from Columbia University, School of Visual Arts (1996) in New York, where he lived and worked until 1998. He currently lives and works in Berlin, Germany. Griss has participated in several group and solo exhibitions in the US, Europe and Latin America. In 2013, his Intervention series debuted at ArtBo ’13, where he exhibited alongside renowned neo-geo artist Peter Halley; during this art fair, his work was featured on the cover of the digital version of Art in America Magazine.
In 2014, his work was included in the publication “100 Painters of Tomorrow”, written by Kurt Beers and published by Thames & Hudson.
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.
Vernissage: Thursday, 3 March, 6:00 – 9:00 p.m. (admission with 2G+)
Exhibition dates: Friday, 4 March – Sunday, 1 May 2022To the Gallery
Exhibition Pablo Griss – Luisa Catucci Gallery | Zeitgenössische Kunst Berlin Contemporary Art Exhibitions Berlin Galerien | ART at Berlin