GFP series (1996-2000)
Jaime Gili. Fox and concorde (1997) acrylic on board. 55 x 330 cm. (Private collection, London)
Jaime Gili. gfp 10 (1999) (Private collection, London), gfp 14 (2000), gfp 13 (2000) (Private collection, Barcelona), all acrylic and oil on board. 244 x 61 cm.
Extract of a conversation between Irene Amore, Eduardo Padilha and Jaime Gili
published in 'transbarroso'. 15 latinamerican artists in london. (2002)
JG: It is clear that the Brazilian modernist project was more successful than the Venezuelan one. But my first contact with a strong, quotable modernity, comes when I am still in Caracas. I see of great importance to my practice, the art that I grew up watching: The influence of the international sixties in the Venezuelan seventies. I think countries like Venezuela still show the possibility of a project of modernity, hidden in an all-embracing hope still alive when all other possibilities seem to fail, but educated in such context loaded mainly with Op Art, (for many the first movement that comes to the mind when thinking about the failure of modernism) my work in Europe tries at first to assume such inheritance in an ironic way. The 'modernity in the tropics', will then become a 'modernity in the tropics, in the memory': two displacements amplified in a new context.
At present my ongoing series of paintings PhA, depicting shapes of car doors on flat backgrounds, could fit into questions that appear similar to Eduardo's if we consider the car doors as readymade objects, appropriated from the garages around my studio in south London. But that comes after the first sight when facing my work: the cleanness of the shapes still relatable with a kind of minimalism.
IA: Your work, if compared to that of Eduardo, seems to keep less traces of its found objects' origins, seems to be more re-constructed according to a new structure, almost a new "programme". To what extent you control the dynamics of such artworks? Where does the "desire" of such objects sit?
JG: One of the "desires" I talk about is already between inverted commas: sits in society in the first place, in the slick forms of cars they want to sell to us as symbols of a social status. That one is a side I want to question confronting it with my reality, the one directly surrounding me: People in the garage next door are often painting real car doors, using materials similar to my own. Their workshops change day by day as mine does, as they are constantly dis/assembling cars. That is another desire: to know what they know, to become them. Since Mr. Ford's first assembly line, Western societies have been shaped in too many levels by everything related to transportation. My work would relate rather to the scrapyard of this economic history and its opposite, the most shiny surface it shows: a layer full of advertisement, stickers and customised number plates, linking nationalism and identity around the pure surface of car paint. On the other hand, my series never deny an enjoyment of paint(ing) and the beauty of a shiny surface. This is perhaps the most real "desire" that I try to set free in my work.
(Irene Amore is an independent curator. lives and works in London and Roma
Eduardo Padilha is and artist. lives and works in London and Amsterdam)
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Jaime Gili. gfp 3, 4 and 5. (1997) (Private collection) Acrylic on board. 122 x 122 cm. each
Jaime Gili. gfp 7 (Artist collection) and gfp 6 (Private Collection, London)
(both 1996), Acrylic on shaped board. 122 x 122 cm. (rollover for details)
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