Juan Jose Hoyos Quiles

Triangulation II, 2019, Painting, Acrylic on Wood Panel

2019

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...

My paintings are fueled by my love of abstraction. The practice of making them involve appropriating from many schools of art and diverse art movements from the early 1900s to the ...

I am 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 d...

PINTURA ACRILICA EN BASTIDOR DE MADERA, SOBRE SOPORTE DE TELA. :: Painting :: Abstract :: This piece comes with an official certificate of authenticity signed by the artist :: Ready ...

#38, by George Vander Sluis, American (1915–1984) Date: 1967 Acrylic on Canvas, signed, titled and dated verso Size: 74 x 48 in. (187.96 x 121.92 cm)

"This is the sixth piece in the 'Unknown Steps' series where I concentrated on creating compositions constructed off of an obtuse angle. In this piece, that focus is the line starting in the lower right corner that reaches up and left before intersecting the blue and aqua fields and turning to intersect the horizon line of the composition. The other lines were then arranged as an extension of that core structure. Every field was composed of multiple translucent layers resulting in complex depth and visual texture." -- Bryan Boone...

At the heart of Pérez-Porro’s work lies a deliberate deviation from the norm. Hidden within the sequential repetition is an expressive will to break the order, transcending the need ...

This acrylic on panel painting by Bryan Boone is the fourth in a series of three major designs. "Decision Drift 2.1 is the first iteration of the Decision ...