Acrylic, gesso, matte medium and matte varnish on cradled wood panel
Dimensions: 30.5cm (H) x 30.5cm (W) x 3.8cm (D) / 12" (H) x 12" (W) x 1.5" (D)
Note: Actual colours may vary due to photography & computer settings.
My paintings are fueled by my love of abstraction. The practice of making them involves experimenting with many schools of art and diverse art movements from the early 1900s to the present. My work has been described as minimal, concrete, reductive, geometric, hard-edged and non-objective.
For the most part, I do not adhere to a "recognizable style" and instead depend on my intuition and shift back and forth within different parameters. Sometimes I work in pairs but have also worked in series as in my Concrete Paintings. I favor flat blocks of color, straight lines, hard edges, the grid, patterns, color juxtaposition, geometry, and patterns. The work is distilled and austere.
I work with a mixture of acrylic paint, matte medium, and gesso on canvas, paper or wood, giving my work a matte flat finish similar to gouache paint and creates the great depth of color that I prefer. I finish the work with a coat of matte varnish.
I studied under some great masters such as Elizabeth Murray, Keith Sonnier, Raphael Ferrer, Lucio Pozzi, and Nachume Miller. Artists that have influenced my work are Imi Knoebel, David Novros, Ellsworth Kelly, Carmen Herrera, and Robert Mangold.
I am also influenced by architecture, patterns, graphic design and anything with a minimalist aesthetic. Having gestated and remixed many abstract styles, my intention is to force a new dialogue inherent to abstraction that started in the early 1900s and continues to be relevant to this day. I hope that when a viewer sees my work they will get a feeling of simplicity, harmony, order, and rhythm.
My work is in many private collections in the U.S. from coast to coast and Europe.
The painting is signed, titled and dated on the back.
Hometown: Brooklyn, NY
Based in: Clearwater, FL
Juan Jose Hoyos Quiles was born in Brooklyn, New York, and attended The School of Visual Arts in NYC, where he studied under Elizabeth Murray, Keith Sonnier, Raphael Ferrer, Nachume Miller, and Lucio Pozzi among others. During the early 1980s Juan shared an artist's loft above The Kenkeleba House located at 214 East Second Street in the East Village. The directors, Corrine Jennings and artist Joe Overstreet established the studios and gallery for Black, Latino, and woman emerging artists. After participating in several group shows at The SVA Gallery, Caidoz Gallery and Kenkeleba House, Juan increasingly found it difficult to remain a full-time artist. Juan worked for several decades in business management for several large companies in law, accounting, and telecommunications. During this period Juan continued making art but did not exhibit. After early retirement in 2013, Juan returned to his first love and moved to Clearwater, Florida in 2014, where he paints in his home studio..
Juan is an abstract, geometric, hard-edge painter. His paintings are fueled by his love of abstraction. The practice of making them has involved experimenting with many schools of art and diverse art movements from the early 1900s to the present. His work has been evolving and transforming over a number of years and has fluctuated back and forth among different ideas, all of them in the abstract model. During this period of discovery, he started a series named Concrete Composition and is still working on this series.
The term Concrete Art was first used by the Dutch artist and designer Theo Van Doesburg (1883-1931) and refers to art that is non-objective and is also called geometric abstraction. Although Juan does not adhere to one style, all of his paintings adhere to the visual codes of Concrete Art, such as flat blocks of color, straight lines, hard edges, the grid, and patterns.
Juan experiments with color juxtaposition, space, and rhythm often influenced by background music ranging from the jazz singer Billie Holiday to contemporary jazz piano, disco, and even House dance music. Although a mature artist, his spirit is young. He relates to painting as if it were a dance, trying to understand new steps between color and geometry. There are never any hints of gestures or marks. The paintings are distilled, austere, elegant, and jewel-like. He sometimes employs what he calls zips of contrasting colors, to "activate" space.
He works intuitively, one painting influences the other. He puts one color down and the next color is a response to the next. If it doesn't work, the paint is scraped down and is over painted but he never reveals any traces. His work is firmly planted in the Minimalist, Reductive, Geometric, and Hard Edge Schools of painting.
His painting technique involves a mixture of acrylic paint, matte medium, and gesso on canvas, paper, or wood, giving his work a matte flat finish similar to gouache paint and creates the great depth of color that he prefers. He then finishes the work with a few coats of satin varnish which transforms the matte colors to a brilliant color vibrancy.
His intentions are to force a new dialogue inherent to abstraction that started in the early 1900s and continues to be relevant to this day. He hopes that when a viewer sees his work, they get a feeling of simplicity, harmony, order, and rhythm.
Juan has returned to exhibiting and has participated in Art In America, an Internet Exhibit, curated by Julie Torres. Inspire/Chapter Two at HUE Gallery of Contemporary Art, Wichita, KS, Curated by Sean Christopher Ward and Lindy Duquid Wiese. Summer Camp For Masterpieces at Stirling Art Gallery, Dunedin, FL. He also participated in the art fair SUPERFINE! in NYC, 2018. Also at AIA Gallery in Tampa, Fl, 2019. He was also featured in 2020 on hardedger.com and will have two of his paintings featured in the quarterly issue 23 of Spotlight Contemporary Magazine published in France.
His work is in many private collections across the United States and Europe.
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