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, Gil's 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 pigment and wax 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.

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1998-1999  Escuela Nacional de Artes Plásticas (ENAP) México D.F.

1999-2001 Escuela Nacional de Pintura, Escultura y Grabado. “La Esmeralda”  CONACULTA-CENART.   México D.F

Exhibiciones Individuales

2017  Franco-Moragrega Gallery. San Diego CA.

2013 San Diego ArtFair, Proyecto Independiente.

2013  “Art-Mkt” SanFrancisco CA. Curaduría de Artista Independiente.

2011 "Numeralia" Galeria Casa Lamm, México D.F.

2010 "Neuroconstructivism" Vision 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.    

Exhibiciones Grupales

2015 “All” Franco-Moragrega Gallery San Diego, CA

2014 Hypothetical Space, Bruce Lurie Gallery Los Angeles CA.

2013 The Athenaeum 22nd Anual, La Jolla CA.

2011 Naples Museum of Art. Florida contemporary.

2010 Arts for a Better World. Soho Studios durante  la semana decArt Basel.

2010 “SIN” BAC Gallery.  Miami, FL.

2010 Lotus House at Margulies Collection.

2010 Home Work. Artistas Residentes en el ArtCenterSF Gallery. Miami, FL.

2010 ArteAmericas GDS Gallery.

2009 ArteAmericas. Instituto Cultural de México. Miami FL.

2008  Museum of Latin American Art, The third anual MOLAA Awards 08. 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"  Exhibición curada por 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-Sotheby’s Galeria de Arte Mexicano, México D.F.

2004  3th place EX-EAQUO, Arts International, Valentin Ruiz Aznar, Granada, España.

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 de Querétaro.      

2001  4e Concours Triennal International Prix DeLa Ville Du Locle, Suisse.

         Publication, Honorific Mention and  group exhibit at Musée  des Beaux-Arts, du  

         Locle.

1998 – 2010  "Grupo de los 16" Red Cross Charity Auction, México D.F.

Colecciones Privada

        ALHEL Developers

        Alles Group

        Boca Raton Museum of Art

        Comex

        GGM&Mobil-Exxon

        Habitat Group  

        HSBC Bank

        ILO

        IXE Bank

        Museo Rufino Tamayo

        Museum Of Latin American Art (MOOLA) California

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