I create both paintings and object-paintings. The works best described as object-paintings are the result of thick layers of encaustic that succeed in three dimensions as totemic or stele forms of great physicality that extend the two-dimensional description of painting into a category that is more sculpture or relief. The technique of multiple layers begins with the application of pigment varying in its transparency and thickness, followed by the melted bees-wax and natural resin infused. The encaustic provides both transparency and opacity; it may be a velvety smooth layer through which the oil imagery appears or emerges, or the thickness of drippings reminiscent of melted wax or the honeycomb itself. Encaustic also forces me to work quickly and spontaneously, before it cools down in forms often unanticipated or uncontrolled. The presence of geometric formations both beneath and on top of the surface is used to secure the compositional integrity of his imagery, especially in the works on canvas. The immediacy of the subconscious impulse is resolved into equilibrium through the repetition of forms and minimalist aesthetics that are in contradiction to the thickness of the final encaustic layer and its natural evolutions on the surface.
The play of technical and stylistic ambiguities present in my works gives the impression of colors hovering with a shallow field, as well as impenetrable depths of materials. However, despite these seemingly contradictory approaches to painting, the final result lends (itself) to quiet tranquility. Each one yields a purely chromatic image or images, based on the tenets of abstraction that refer to nothing but their own physical presence and the process by which they came into being.
Painterly Abstraction by Carol Damian.
Jaime Gil has never wavered in his commitment to subjective, technically rich, abstract gesturalism. His work is based on the pure exposition of sincere feeling that is, most of all, inspired by the act of painting itself. Viewing his paintings and paint-encrusted objects, one quickly appreciates a sense of oneness between the artist and the work. Ranging from broad rhythmic brushwork and congested space into white-ground openness activated by loose trellises of geometric constructions, Gils paintings are about the physical, plastic qualities of the paint itself, and the artists interaction with the materials. A true descendant of the Gestural/Action Painters of the New York School, Gil applies the tenets of Abstract Expressionism to his particular stylistic method, emphasizing the automatic and spontaneous tempered by his attraction to compositional organization unified by geometric forms. Through the use of objective abstraction focusing on circles and squares, he controls the restlessness of a multi-layered technique based on the ancient principles of the hot-wax painting medium called encaustic for a more structured format.
Gil creates both paintings and object-paintings. The works best described as object-paintings are the result of thick encrustations of encaustic that succeed in three dimensions as totemic or stele forms of great physicality that extend the two-dimensional description of painting into a category that is more sculpture or relief. His technique of multiple layers begins with the application of oil pigment varying in its transparency and thickness, followed by the melted wax also infused with color. The wax provides both transparency and opacity; it may be a velvety smooth layer through which the oil imagery appears or emerges, or the thickness of drippings reminiscent of melted candles or the honeycomb itself. Wax also forces the artist to work quickly and spontaneously, before it dries in formations often unanticipated or uncontrolled. The presence of geometric formations both beneath and on top of the surface is used to secure the compositional integrity of his imagery, especially in the works on canvas. The immediacy of his subconscious impulse is resolved into equilibrium through the repetition of forms and minimalist aesthetics that are in contradiction to the thickness of the final wax layer and its natural evolutions on the painterly surface.
The play of technical and stylistic ambiguities present in the works of Jaime Gil gives the impression of colors hovering with a shallow field, as well as impenetrable depths of materials. However, despite these seemingly contradictory approaches to painting, Gil infuses his works with a quiet tranquility. Each one yields a purely chromatic image or images, based on the tenets of abstraction that refer to nothing but their own physical presence and the process by which they came into being.
By Sandra Cerisola.
The work of Jaime Gil oscillates between geometry and specific details, and techniques in which the materials spread freely in the canvas or the wood, expressing by themselves their own qualities; the wax falls in well-defined lines, drying the in the process and ending in a drop that projects itself out of the surface, turning the canvases into almost three-dimensional works; or drying as well, over acrylic colored surfaces, forming a transparent layer depending on its pigmentation and thickness, changing the colors or the intensity of the shades and imprinting certain freshness to his work.
Either considering the creative method or the results, the work of Jaime Gil contrasts with certain contemporary movements in which the process, materials and the work itself are often the result of the rhythm and the demands of society, where everything is ephemeral or disposable. Jaime Gil is influenced by two important movements: action painting and abstract expressionism, a movement that flourished in the United States during the 40s and 50s with the purpose of representing, through painting, strong emotional and expressive contents, and embracing a wide range of abstraction degrees, as well as an immediacy sense in the painting and its techniques. His work lacks of any kind of theoretical pretension, and the desired effect in the spectator is achieved through the energy contained in the shapes, which are the materialized synthesis of the mental flow of the artist.
In order to obtain the desired effect, during the creative process, he creates his own tools and improvises with different objects. With the same motivation for exigency and self-perfection, he works simultaneously experimenting with different techniques, in different series and formats that act as reference between themselves.
Also, as a result of an intuitive sense of balance and movement, in his work, Jaime Gil establishes limits and then breaks them, creates lines and defines almost perfect geometrical shapes to transgress them with other materials different from the ones used in the earlier plastic structure; giving thus more strength to the movement and rupture, creating organic abstractions that transport us to elemental experiences: water, soil and heat sensations.
The body of his work is basically formed by oil paintings on canvas or wood, also using encausto and other materials such as spray-lacquers and graphite. However, he has also created small wooden three-dimensional works that can not be considered paintings nor sculptures, painted and spread with encausto, which, besides the production time, can take months to dry completely.
Jaime Gil has been fully engaged with different trends and manifestations of abstract art; through the study and exploration, as well as through his personal and practical search as an artist since he was young.
Gil also works on demand, involving his painting in great architectonic projects, creating some kind of contemporaneous environments.
In his work, he materializes the dialogue or the conflict between structure and order, as well as the conscience or intuition of the movement, and the artists own mental flow. And this is what gives his work the esthetic harmony and balance between the shapes, as well as its internal movement and organization.
InterActive by M A DeBernardi.
An artist is an interactive being. Someone who can see things others cant or cant even imagine. He is someone who interacts with the oblivious legacy of the instinctive shapes amassed in the individual and collective mind of human beings. Such is the interpretation of his eyes, his inner nature: his inner self. This is the interaction of his magic, of that intangible and seductive ability known throughout the years and conventionally as talent, which ultimately means humanity, interactivity.
If these visionary beings, who we often call insane, did not exist we would be forced to see and live in this world with the same limitations as primitive men, that is to say: with a primitive mind. Would the world be the same without Art? If visual artists did not exist? If we were not interactive?
Aforetime, the objective was to draw figures as similar as possible to their real anatomy. Furthermore, people thought that by painting figures accurately they could communicate with them and be protected by them. This is the psychological principle of idolatry. They achieved an unusual perfection and went from primitivism to hyperrealism. Every style broadened the possibilities of reality, which allowed evolution. The image was replaced by figures: people said: I figure instead of: I imagine.
Nowadays, we paint the fantasy world, the dreams and the shapes the eye has never encoded, though it does not mean they cease to be or exist, act and inter-activate us anymore. The artist finds symmetries and asymmetries in his mind, which repeat themselves in a constant geometry generating the sensitive crystals that will rule our rational and emotional actions.
In a world where we talk naturally about chips, genetic and bar codes; electronic memories, which keep millions of data in millimetric surfaces that can be easily read, and where dwelling and urbanism have transcended conventional shapes and the interaction of humans with their environment thanks to new geometries, maybe we could paint and observe using a psychological principle similar to the one used at the beginning of times: communicating with the other dimensions of the mind. Let us not forget that this dimension is mythical and that the idea of painting figures is to mythologize them, not making portraits.
The exact symmetry of reason and the continuous diversity of textures of the organic matter are the creating sources from which Jaime Gils pictorial mythology and interactivity emerge. Jaime, by using his personal poetry, transforms all these data and geometry into rational and passionate art, simultaneously. He gives them a different texture, synthesizes, humanizes and magnifies them. With these creations, the spectator finds the liquids of emotiveness and even those of love. It is obvious that this artist, by exploring himself, realizes that inside every human being there are accidents: some things slide, others drip and even spill. We are liquids, organs and space.
In this INTErActive work he uses the encausto technique. It is not an impulse. The wax, the heat, the drippings and the paint applied from a distance are the sensitive instruments of his creative thought. It is said that between the ages of seven and eleven years old the mind begins to really experience sensorial activity. Buddhists call this status manovijñana. From this moment on, mental structures are genuinely qualified to forge a well-arranged thought, that is to say, multiply or divide. This is when something magical occurs: it is the first structure able to experience other roles, to have a truly different perspective from our own. It is in this sense that Jaime Gil does not only paint for himself, but for the entire world.
His work has many visual walls and columns, shadows, encounters and coincidences. The abstraction of his paintings transmits us specific sensations and emotions. The format, the materials and dimensions are an active part of the message. Coincidence is also a causal and destiny element in his work, since he surprises us based on his own capacity of being amazed. The best example of this characteristic are his polliptics: small paintings that can be arranged in a different order, or even in different dimensions and symmetries. With this characteristic, his work has unlimited possibilities and the spectator is able to participate intensely in the creation.
The secret to understand Jaime Gil does not depend on finding archetypical or totemic faces or figures. It is about not being afraid of the things we can not identify at first sight: recognize, inter-activate ourselves with the visual impact, not with the shape. Jaime Gil, just like any great light musician, with the help of different tools, heat and the object chosen as assistant at that moment, creates noble visual patterns, risky and bright notes he arranges in the painting following his expert eye. This is how he creates what has not been seen before, and how he sees what has not been created yet. This is how he displays his world before us.
Jaime Gil is a modern man who enjoys science and technology, even though he knows these visions have reduced the world to a simple technical and mathematical exploration object with practical purposes, which have excluded the sensitive environment from the horizon. He is clearly a human being with the spiritual gift. He loves his work, in which he has definitely found his purpose in life. This makes him an honest and happy man. This is also reflected by his atelier, the clearness of his eyes, and the joyful energy of his language. His work emanates that luminous vibration that goes beyond words or shapes. His paintings drip luminosity, spill photons that energize spectators, they glow, and they are like fountains. This is how we enter to the INTErActive mystery of Jaime Gil.
1983 Spends 4 years in USA exploring Abstract Art and its contemporary variations
1998-1999 Escuela Nacional de Artes Plásticas (ENAP) México D.F.
1999-2001 Studies of Arts at Escuela Nacional de Pintura, Escultura y
Grabado. La Esmeralda CONACULTA-CENART. México D.F
2013 ArtSD13 San Diego CA. Cyber Project.
2013 ArtMKT San Francisco CA. Curated solo Artist
2010 NeuroconstructivismNomad Art Gallery Miami FL.
2007 “Prime Matter” Art Vision Gallery, Miami Fl.
2006 “InterActivo” Galeria Casa Lamm, México D.F.
2004 “Vitra-Less” Galeria Casa Lamm, México D.F.
2002 “Códigos que deja el Tiempo” Galeria El Aire, México D.F.
2001 “Defectos Perfectos” Espacio Cultural Rufino Tamayo México D.F.
2000 “Los Colores del Inconsciente” Espacio Cultural Rufino Tamayo, México D.F.
1998 “Midiendo Los Colores” Salón del Centro Nacional de las Artes, México D.F.
2013 Athenaeums 22 nd Annual Juried Exhibition. La Jolla CA.
2011 Naples Museum of Art. Florida Contemporary.
2010 Arts for a Better World. Soho Studios during Art Basel.
2010 SIN BAC Gallery. Miami, FL.
2010 Lotus House at Margulies Collection.
2010 Home Work. Artist resident at the ArtCenterSF Gallery. Miami, FL.
2010 ArteAmericas GDS Gallery.
2009 ArteAmericas. Instituto Cultural de México. Miami FL.
2008 Museum of Latin American Art, The third annual MOLAA Awards 08. Long
Long Beach, CA.
2008 Bridge Wynwood, Art Vision Gallery, during Art Basel Miami Beach.
2008 A-B(O)M-B Juried Show by Artoconecto/BAC. Miami, FL.
2008 Boca Raton Museum of Art. “57th All Florida” Exhibition curated by Jan van der Mark
2008 Arteamericas. Art Vision Gallery. Miami Fl.
2007 Petal Fusion, Cheryl Hazan Gallery. New York, NY.
2007 Pictorica 33, Galeria Parque Fundidora, Monterrey NL.
2007 Infinitely Connected, Bakehouse Art Complex, Miami Fl.
2005 Skateboard is not a crime, O Galeria México D.F,
2005 ARCO “Galeria Cuatro Diecisiete”, Madrid, España.
2005 6a Trienal International, Kochi, Japan.
2004 Colectiva del FAI-Sothebys Galeria de Arte Mexicano, México D.F.
2004 3th place EX-EAQUO, Plastic Arts International Competition, Valentin Ruiz Aznar
2003 Museo de Arte Moderno, Secretaria de Gobernación Auction, México D.F.
2002 XI Bienal, Rufino Tamayo Museum”. México DF.
Museo de Arte Contemporáneo de Oaxaca (MACO), Museo de Arte
Contemporáneo de Aguascalientes, Museo de Sinaloa, Casa de Celaya y el Museo
2001 4e Concours Triennal International Prix DeLa Ville Du Locle, Suisse.
Publication, Honorific Mention and group exhibit at Musée des Beaux-Arts, du
1998 2009 “Grupo de los 16” Red Cross Charity Auction, México D.F.
Corporate and museum Collections.
Boca Raton Museum of Art
Museo Rufino Tamayo
Museum Of Latin American Art (MOOLA) California.
Naples Museum of Art.