Jorge Pardo
Installation by Jorge Pardo at the Musée Des Augustins in the Frame Of The Toulouse International Art Festival (2014). Courtesy Studio Jorge Pardo. Photo: Nicolas Brasseur, Toulouse International Art Festival 2014 © Printemps De Septembre.


Gió Marconi
Via Tadino 20


25 Mar 2022 - 09 May 2022



Jorge Pardo

The exhibition will feature four large-scale works on paper, four engraved paintings as well as a variety of new sconces. The selection of multicolored works manifests the artist’s position at the intersection of painting and sculpture, architecture and design, craftsmanship and computerized production.

In Pardo’s new series of paintings bold color planes emerge from and recede into energetic surfaces of intersecting and overlapping shapes. The works consist of an accumulation of images, first layered digitally, then laser-cut engraved on MDF and eventually hand-painted in acrylic. These quintessentially additive works are a continuation of the subject of layered paintings that the artist has been developing for many years now. The references and source material Pardo resorts to are a widespread amalgamation of personal photographs, particularly the lush garden of his Mexican home, past works of his own as well as works by other artists such as Claude Monet or Willem de Kooning. All these different pieces and layers, typically two to seven layers per painting, come to coexist next to each other.

The finished artworks, although seemingly abstract, cannot be called nonrepresentational as they much rather represent a multitude of layered memories comparable to a very personal archeological excavation. The resulting objects are hybrids between painting and sculpture and attest to the artist’s colourful, maximalist and eclectic style. The latter is strongly tied to Pardo’s Latinx heritage and the location of his studio in Mérida, Mexico. His painting techniques and the finished works show vivid Mexican and Mayan influences in matters of their materiality and cultural aesthetics. With this new body of work, Pardo seems most interested in the transcending effect of these paintings: “It’s about making them disappear and turn into something else (…) and for them to start to have a dialogue between each other.”