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"As the romantic, even melodramatic tone of his statement suggests, [these paintings are] shadowed by an acute sense of the need for human contact in the absence of the programmatic public use in which artists like Cruz Diez (or almost any precursor in the lineage of that international constructivism on which Gili's pictorial idiom is so dependent) could believe. And yet for art, if not for society, desperation might just be more useful than faith; the artist whose heritage is a failed utopia might be more fortunate that the heir to one that is still promised hope."
Barry Schwabsky - artforum, may 2006
A152 Djelikani, 2009. Acrylic on canvas, 230x300 cm.
"...the whole philosophical stance of these paintings is one of revealing that which is already there, a reconfiguration of the essence of moment with a blast. The fact that the explosions are suspended within the edge, that they are that description of moment, marks not so much a process of discovery, as that blast of recognition. Painting can do that."
(c) Sacha Craddock. from the exhibition catalogue at the Jerwood space. 2003
A194 (Ivan) 2011 Acrylic on canvas 81 x 61 cm. A198 (Godoy) 2011 acrylic on canvas. 45 x 35 cm.
A100 "manu" 2007 . acrylic on canvas. 46 x 36 cm.
A199 "mossmann" 2011 . Acrylic on canvas. 45 x 35 cm.
A88 "martin" 2007 . acrylic on canvas. 201 x 201 cm.
A210 "oliveros" 2012. Acrylic on canvas. 35 x 30 cm.
A178 "fedoraII" 2009. acrylic on canvas. 65 x 55 cm.
"...Tus pinturas parecen una explosión, como si alguien le hubiera tirado una bomba a un Cruz Diez."
(c) Jesús Fuenmayor en la publicación de la exposición "las tres calaveras" en periférico Caracas, 2006.
a58 (lucia) 2006 - acrylic on canvas - 268 x 230 cm
"...Jaime Gili's work seems to be a meditation on the fact that, as Jean-François Lyotard pointed out repeatedly, a painting or a representation arrives "too early" or "too late." To paint about speed is to miss the point- literally. This impossibility and paradox seems to drive Gili's work; but we are left enigmatically with various insinuations about the consequences of speed and pace: do velocity and energy give way, inevitably, to entropy? Perhaps. Here, Gili's commitment to the openness of form and interpretation -a tension between semantic and formal closure and its lack - might have benefited from being reigned in, or directed in a more intentional way. This was, nonetheless, an impressive London solo debut"
(c) David Ryan. From the review on the show at the Jerwood space
ART PAPERS - Atlanta (May June 2003) - Vol 27 n/3
A62 "matias" 2007 . acrylic on canvas. 140 x 150 cm.
A81 "deborah" 2006 acrilic on canvas 30 x 25 cm.
A107 "gabriela" 2007 acrylic on canvas. 46 x 36 cm
A109 "pizzani" 2007 acrylic on linen. 60 x 55 cm
a39 (morganne). 2005. acrylic on canvas. 160 x 180 cm.
"His hard-edged paintings take their agenda from the livery of modernism, as if he suspects it might
be a rehashable vehicle of emancipation. (...) Gili¹s imagery is commotion slowed to a halt and held up for our scrutiny."
(c) Sally O'Reilly on the catalogue of EXPANDER, 2004. Royal Academy. London.
a28 (salazar). 2003. acrylic and oil on canvas. 195 x 130 cm.
A45 (rainford) 2005. acrylic on linen. 70 x 56 cm.
A31 (lopez) 2006. acrylic on canvas. 35 x 30 cm.
A80 "bruna" 2007 -acrylic on linen - 61 x55 cm.
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