Juan Miermont

Since my earliest artistic beginnings, I have been a painter who, through introspection (by looking inward more than outward), gradually moved away from the realistic aspects that nature offers us. Today, nature is present in my work in a suggestive manner that highlights its explicit qualities across various themes. I aim for the forms and colors to convey intangible realities, such as changes in light, seasonal shifts, and their distinguishing features (flowering, cold, heat...): symbols of the emotional states of sensitive nature. In addition, the colors can reflect different and personal moods (nostalgia, joy, sadness...). Another more abstract avenue to explore is the aesthetic emotion of music.

In my style, I have replaced the tone of chromatic mixtures after many years of intense brilliance. Today, color has become quieter and more harmonious, even in fully abstract compositions that present original tonalities. Textural values have been added to the painting surface, influencing optical processes and enriching perception. The famous critic, Michel Tapié, referred to this in his time as "informalism," as it brought the expressive force of dense matter into abstract painting. Through all of this, I seek to accentuate the complex synthesis of color and its corresponding luminosity, which can be muted, bright, fluid, or ever-changing. Yet, the greatest challenge in some themes is not so much to show, but to evoke or make visible what is invisible.

In the paintings of recent years, there are artistic exercises where I combine forms that bloom from the imagination that creates them and the hand that conveys them. One could speak of a world without concrete objects or human beings, a world typically inhabited by intangible and emotional realities.

In truth, my artistic approach aims to be independent, while still close to "geometric abstraction" or, on the other hand, "abstract impressionism." The latter term was coined in 1956 by the critic and painter Louis Finkelstein to describe the romantic style of some painters who were captivated by light impressions. "To express oneself through light and in light," Henri Matisse had said earlier. Regardless, I fully resonate with the expressive words of the brilliant Georges Seurat: "Let us get drunk on light once more, this is comforting."