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me Gili was nativity in Caracas (Venezuela) in 1972. He grew up in a multicultural chief full of vibrant optical art, a cement metropolis full of optimism. Caracas [link widoczny dla zalogowanych], in the late seventies, presented its own version of the International modernism action in art and architecture. Its own take on Utopia, the look of the metropolis being created by artists and architects working together towards a single vision underwritten by a muscular oil economy.
In paintings such as Barbaro, Ochoa, and Trikalinou [link widoczny dla zalogowanych], Jaime Gili incites the austere naturalness of geometric design with the trust and authenticity of painterly gesture. Presented in a cluster, his paintings are no hung, yet leaned against the walls, creating a temporal architecture inciting of the constant transience and development of urban space. Executed with a palmy palette, Gili’s colossal scale canvases capitalise ashore the power of aesthetics to stimulate and allure. Bold splinters of pitch black, copper metalline [link widoczny dla zalogowanych], alternatively tainted roseate lance via grounds animate with drips, spots, and impassioned swipes, creating memorable fields of raw, potent vigor.
Hailing from Venezuela, Gili goes from a apparently South American perspective. Influenced at the sharp geometric angles of 20th c building and the slippery luxury of classic automotive detailing, Gili’s paintings disengage the multinational archetypes of modernism: reflecting instead a localised remodelling of manner, where devise and its social implications have been internalised and customised to represent a solitary national and political personality and cultural heritage. Citing his country’s quick oil-rich economic growth and intensive South American visionary developments such Caracas and Brasilia, Gili’s paintings residence this utopian current earth optimism and its inherent failure.Gili’s shard-like compositions are reminiscent of Ljubov Popova and Mikhaiul Larionov, when simultaneously disbursing homage to magnificent South American abstractionists such for Cruz Diez, Christ Rafael Soto and Alejandro Otero.
Conclusion :
Jaime Gili sheets are nostalgic because this obsolete positivism; where the idealistic development of public space and the appetite for mechanical amelioration both pronounced and influenced a sense of social buoyancy and community. Borrowing from the Constructivists’s ideas of bridging masterpiece and technology.
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