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"As the romantic, even melodramatic tone of his statement suggests, [these paintings are] shadowed by an acute sense of the need for human contact in the absence of the programmatic public use in which artists like Cruz Diez (or almost any precursor in the lineage of that international constructivism on which Gili's pictorial idiom is so dependent) could believe. And yet for art, if not for society, desperation might just be more useful than faith; the artist whose heritage is a failed utopia might be more fortunate that the heir to one that is still promised hope."

Barry Schwabsky - artforum, may 2006

Jaime Gili - La Fanta María. 2007. 45 x 35 cm.

installations:

A98 (La Yesenia) 278 x 257 cm. as installed in 'Las Tres Calaveras' Periferico Caracas 2006

"...the whole philosophical stance of these paintings is one of revealing that which is already there, a reconfiguration of the essence of moment with a blast. The fact that the explosions are suspended within the edge, that they are that description of moment, marks not so much a process of discovery, as that blast of recognition. Painting can do that."

(c) Sacha Craddock. from the exhibition catalogue at the Jerwood space. 2003

A56 (ochoa), A52 (salvador) and wallpaper ceiling piece as installed at Riflemaker London 2006

"...Tus pinturas parecen una explosión, como si alguien le hubiera tirado una bomba a un Cruz Diez."

(c) Jesús Fuenmayor en la publicación de la exposición "las tres calaveras" en periférico Caracas, 2006.

Superstars Riflemaker Soho Square, London 2008

'Expander' Royal Academy, london, 2004 curated by mustafa hulusi

"...Jaime Gili's work seems to be a meditation on the fact that, as Jean-François Lyotard pointed out repeatedly, a painting or a representation arrives "too early" or "too late." To paint about speed is to miss the point- literally. This impossibility and paradox seems to drive Gili's work; but we are left enigmatically with various insinuations about the consequences of speed and pace: do velocity and energy give way, inevitably, to entropy? Perhaps. Here, Gili's commitment to the openness of form and interpretation -a tension between semantic and formal closure and its lack - might have benefited from being reigned in, or directed in a more intentional way. This was, nonetheless, an impressive London solo debut"

(c) David Ryan. From the review on the show at the Jerwood space
ART PAPERS - Atlanta (May June 2003) - Vol 27 n/3

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details of installation at 'Villa Jelmini' Bern Kunsthalle 2006

A54 (Riacho) 200 x 200 as installed in 'Villa Jelmini' Bern Kunsthalle 2006

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Rupt curated by sheena etches. Jerwood artists platform. London 2002/03

paintings:

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A94 "larusa" acrylic on linen. - 51 x 46 cm.

A100 "manu" 2007 . acrylic on canvas. 46 x 36 cm.

A81 "deborah" 2006 acrilic on canvas 30 x 25 cm.

a58 (lucia) 2006 - acrylic on canvas - 268 x 230 cm

A107 "gabriela" 2007 acrylic on canvas. 46 x 36 cm

A109 "pizzani" 2007 acrylic on linen. 60 x 55 cm

a39 (morganne). 2005. acrylic on canvas. 160 x 180 cm.

"His hard-edged paintings take their agenda from the livery of modernism, as if he suspects it might
be a rehashable vehicle of emancipation. (...) Gili¹s imagery is commotion slowed to a halt and held up for our scrutiny."

(c) Sally O'Reilly on the catalogue of EXPANDER. October 2004. Royal Academy. London.

a28 (salazar). 2003. acrylic and oil on canvas. 195 x 130 cm.

A45 (rainford) 2005. acrylic on linen. 70 x 56 cm.

A80 "bruna" 2007 -acrylic on linen - 61 x55 cm.

A31 (lopez) 2006. acrylic on canvas. 35 x 30 cm.

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