About

 Miguel Grillo

Born in Caracas, Venezuela, on December 13, 1983, Architect from the Faculty of Architecture and Urbanism at the Central University of Venezuela. They are also the founder and director of the artistic movement FAUHAUS at FAU UCV.

Statement

In my artistic exploration, I delve beyond mere abstract composition or the pursuit of acquired aesthetics. While these elements serve as essential tools, they are merely the scaffolding upon which I build my creations. My true endeavor lies in the translation of personal experiences, fleeting emotions, and the intangible essence of existence into tangible forms of expression.

I eschew the comfort of predictable geometric or material formulas in favor of embracing the unknown. Static aesthetics confine my creative spirit, for life itself is a tapestry of constant flux and evolution. I seek to capture this dynamic essence, not through pristine perfection, but rather through the raw authenticity of my soul, adorned with its inevitable scars.

My process is guided by an instinctive dance with materials, a symbiotic interplay of discovery and transformation. I surrender to the whispers of free will, allowing myself to be swept into unforeseen realms of creation. Whether through the manipulation of found objects or the intuitive alteration of forms, each artistic endeavor becomes a testament to this spiritual interconnection—a manifestation of the ineffable dialogue between self and art.

• ART MIAMI 2019 - Art Nouveau Gallery - Booth AM589

• PINTA MIAMI 2018 - Solo Show - Adriana Meneses Art Consultant. Wynwood Miami

• INDIVIDUAL 2015. ECOS INTERACCION DE ELIPSES, Gallery G Siete, CCS VZLA

• BOCETOS UTOPIAS 2013, Gallery Greenella

• FIA Caracas 2013

• FIA Caracas 2012

• INDIVIDUAL 2012. ESTUDIOS DE PAPEL, Gallery G Siete, CCS VZLA

• Colletive Paper 2011, Gallery Blasani. Exposed works “roja” paper 30x48 cm

• Special Metion – Expo Caracas PURE CONTRAST 2011 – TICKET SUBWAY

• FIA CARACAS 2011

• Producer of photographic and audiovisual works basis for the artist Pancho Quilici, in the exhibition “AFTER CARACAS”, 2009 in Torre La Previsora, Fundación La Previsora.

• Collective “ Trancendental”, organized by the artist plastic Asdrúbal Colmenares. Exposed works PF 2009 MERIDA VZLA.

• INDIVIDUAL 2009 VETAS CINÉTICAS in Blasini Gallery CCS VZLA

• Collective Abstract Art Gallery G SIETE October 2009. Exposed works "VEA"

• Collective "Trancendental" organized by the gallery Blasini and artist plastic Asdrúbal Colmenares. Exposed works "LA CRUZ DE CAMPO BELLO 2009, metro tickets; "TRES 2009," metro ticktes; "PIEL 2008"; wood and stainless steel wire.

• Collective On Paper 2009. Exposed works “UN METRO DE ENCAJE” Blasini Gallery CCS VZLA

• Publication for Zuplemento Magazine #50.Exposed works "MANCHETA"

• 2008 Biennal 64 "Salón Arturo Michelena". Exposed works "Vagina en Andamio"

• FAUHAUS IV 2008 Exposed works "PELDAÑOS" intervention wood and wire; "YA NO ES DE JUAN" intervention painting plastic artist Juan Mendoza with red paint. FAU UCV

• 2008 Collective Gallery Blasini. Exhibits "D DOS" CCS. VZLA

• FAUHAUS III 2007. Exhibits "SENSORAMA" intervention wood and wire. FAU UCV

• FAUHAUSS II 2006. Exposed works "MI BANQUITO SABANERO" carved wooden bench. FAU UCV

• FAUHAUS I 2006. Exposed works "BAMBO Y MEDIO"; intervention in bamboo with wire; "TRONCO Y ZETA"; intervention wood with wire. FAU UCV

Words

to Grillo

“It is very gratifying to discover in the plastic works of the young architect and visual artist Miguel Grillo, an estimable artistic experience conceived with the classic resource of "coincidentia oppositorum," which is the same as the unity of opposites, or the harmony of opposites, always yielding reliable results. In this case, the works thus created are aesthetically situated at the diametrically opposed pole to the moral and social degradation that is systematically being imposed on us in the country.

In this sense, the effects of reconciling contradictions act as a soothing balm against the daily anxieties.

On the other hand, at the core of the central issues of these works lies the simultaneous connection of disparities, such as the precariousness and perpetuity of time and space as imaginary or virtual aesthetic categories.

The variability of the vibratory visual interrelationships between the lines and the backgrounds makes an absolute and fixed perception of the works impossible.

It is worth noting that these works do not depend on the artist's inner impulses, nor on direct intersubjective relations between the author and the viewer. Rather, they involve a special type of physical and phenomenological interrelations in which the mediation of the artistic object is essential.

From an ingenious and playful combination of somewhat elusive elements, a surprising result can be generated. The succession of this type of constructive experiences opens up an otherness, a source of unlimited formal, structural, conceptual, and discursive changes that are innovative.

These works by Miguel Grillo are not mere continuations of the traditional formalist models of kinetic art, op-art, or other offshoots of geometric abstract constructivism from over half a century ago. This is something else, new, different, with other proposals. It does not refer to the past but seeks to invent the future.”

Perán Erminy

Caracas 2014

CINETIC VEINS

“With the thoroughness of a craftsman and the curiosity of a creator, Miguel Grilo tries to liberate the soul of the wood. His inquiry into the mystery of mathematics, exploring shapes and repeated patterns, leads him to project metal arcades from the path of the wood's veins, defining forms that come alive to the displacement of the observer. A somewhat eventful result is pending.

Grillo goes drilling centimeter by centimeter with wise accuracy into the reefs of the selected wood. The slits where the forces escape, centimeter by centimeter, will generate light vortices or enclosed tunnels, leaving an energy permeating that only the viewer could capture. In this way, the soul, stripped and hidden between the lines, finds a geography of its own in each work. Passages and outlets discover the artist himself at the whim of the footprint of stretch marks. The depth provided by the movement in the cavity gives us the visual of the flow from a vein in motion, in a sort of topography that reveals the windings of life.

The masterpiece then vibrates in harmony together with the observer, forcing him to perceive himself as part of the rhythm that moves the interior of nature”

Mariela Provenzali 

Aug. 1, 2009

My Own

•  PAPER STUDIES

  “In the realm of intellectual exploration, one embarks on a quest to decipher the enigmatic landscapes of the intangible. It's a journey that transcends the boundaries of conventional thought, delving into the depths of contemplation. At its core lies the infinite expanse of the "nothingness," a pristine canvas where raw emotions and fleeting ideas dance in suspended animation. Here, amidst the silence of the void, fragments of purity and ethereal beauty emerge, waiting to be seized upon and interpreted. It's a landscape of introspection, where the mind becomes a vessel for the expression of visceral truths and abstract concepts, each stroke of thought painting a picture of profound significance.”

  Miguel Grillo.

  Caracas, Sept 23, 2011.  

• UTOPIAN SKETCHES

  “In the ethereal realm of imagination, where the boundaries between reality and fantasy blur, one embarks on a transcendent journey through unseen realms. Neural pathways become conduits for transcendence, guiding the seeker through corridors of thought and surreal landscapes. Here, within the recesses of the mind, the ordinary transforms into the extraordinary, as thoughts manifest in sculpted reliefs and waves of infinite perspectives. These sketches, born of absurdity and whimsy, serve as testament to the boundless nature of human creativity. They are expressions of free will, where dreams take flight and ideals of absolute nothingness find form in the tapestry of existence. It's a realm of utopian visions, where madness merges with memory, and the surreal becomes sublime.”

  Miguel Grillo

  Caracas, June 25, 2011.

• METRIC DECONSTRUCTION

  “Within the mundane fabric of everyday life, hidden beneath the surface of the ordinary, lie untold stories waiting to be revealed. A simple object—a Metro ticket (Caracas Subway ticket), a token of passage—holds within it a myriad of experiences and memories. It serves as a silent witness to the complexities of human existence, a testament to the journeys undertaken and the connections forged along the way. Yet, when deconstructed, it reveals more than just its physical form. It unveils hidden virtues, poetry, and shared emotions, offering a glimpse into the intricate web of human interaction. It's a reminder that beneath the surface of the mundane lies a world of beauty and complexity, waiting to be discovered and appreciated.”

  Miguel Grillo

  Caracas, October 14, 2013.

• ECHOES

  “ The evolution of art mirrors the evolution of humanity itself—a journey from the primal to the refined, from the tangible to the intangible. From the organic embrace of wood to the sleek elegance of industrial materials, each transformation marks a progression in the human quest for expression and understanding. "Echoes" reverberate through the corridors of time, resonating with the reflections of self and soul. They are projections of the human experience, capturing moments of beauty, pain, and transcendence. It's a continuous exploration, a perpetual quest to unravel the mysteries of creation and transcendence, echoing across generations and cultures.”

  Miguel Grillo 

  Caracas, 2015.

• METAMORPHOSIS

  “In the sacred crucible of creativity, where the fires of imagination burn bright and the echoes of inspiration reverberate, the Metamorphosis takes shape. Here, within the sanctum of the artist's workshop, experimentation transcends mere technique, becoming a conduit for profound introspection and transformation.

  Acrylic boxes, once mundane receptacles for containment, undergo a metamorphosis of their own, shedding their former identities to emerge as symbols of renewal and rebirth. Through the alchemy of artistic intervention, they transcend their original form, transcending the boundaries of mere utility to become vessels of profound artistic expression.

  Each stroke of the artist's hand, each sculpted curve and molded contour, breathes new life into these once lifeless structures. They become more than just objects—they become embodiments of the artist's vision, tangible manifestations of the creative spirit.

  The sphere, with its perfect symmetry and boundless potential, becomes a symbol of the infinite possibilities inherent in the act of creation. It intersects with the surface, a reflection of the human soul, capturing the essence of the artist's innermost thoughts and emotions.

  Through the process of metamorphosis, the artist transcends the constraints of the physical world, venturing into the realm of the abstract and the sublime. It's a journey of self-discovery and revelation, a testament to the transformative power of artistic expression.”

  Miguel Grillo 

  Miami, 2018.