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Artist Statement:
My paintings are my voice.
Each brush stroke is a silent
word. Each color, tint and
shade stems from a complex
spectrum of feelings, ideas,
sensations and stories that I
hope will have resonance in
the imagination and soul of
the viewer.
I choose to express questions,
motifs and beliefs through
figurative painting, because I
believe it to be the most
concrete, clear and
impressionable form of
artistic expression. Most of
the subjects I portray are
decisively naked, and this is
because I believe that the
nude figure, without the
protection of clothing, is the
greatest way to reveal the
deepest truths of what resides
within the human soul.
The majority of my work
explores a range that consists
of traditional religious dogma
and prejudice at one end, and
the instinctive and emotive
nature of human sexuality on
the other. Though these two
subjects are traditionally
contrasted as being poles
apart, I aim to demystify the
prejudices and preconceptions
which divide them, and
instead, seek to bridge them
through a contemporary
interpretation that is
rational, thoughtful and
honest, as well as spiritual
and sacred; This
interpretation is never
intended to be controversial
or offensive, but rather,
conciliatory and revealing.
The ...
Further Information
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Artist Exhibitions:
SOLO SHOWS
2002
“Memories and Dreams”,
Williamsburg Art & Historical
Center, Brooklyn, NY
1988
“Apocalipsis” - Arawak
Gallery, Santo Domingo,
Dominican Republic
1984
"Luz e Imagen"- Paiewonsky
Gallery, Santo Domingo, D.R.
1983
“2nd Exhibition" - Club del
Banco de la Vivienda, San Juan
de la Maguana, DR
1979
“1st. Exhibition”, Casa de
...
Further Information
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Artist Galleries:
Coming Soon!
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Collections:
Coming Soon!
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Commissions:
Ed Centeno, Walt Whitman
Collector, Hartford, CT, USA
Diane Von Furstemberg, New
York, NY USA...
Further Information
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By Stephen W. Mcdermott, July 2003 (For Gay City newspaper)
Miguel Tió`s Eve (oil and gold leaf on cutout canvas) is a large, oblong canvas superimposed on another, cut out to reveal a lower image of a female figure lying in modified fetal position. The over canvas is a series of rows of golden apples, broken in the upper right corner by a single, Red Delicious apple, with one bite taken out.
By James Pinney, June 2003 (For the "Guilty pleasures" show)
Miguel Tio (paintings), "Lovers", "Tears", and "Attitudes", dramatic and complex portraiture, irresistibly sensual and illusionary, which exploits scale and luminosity without eschewing the personal and the poetical, work that entices the eye and rewards the minds.
Miguel Tió: BETWEEN FIRE & WATER / LIGHT & SHADOW
By Luis F. Quiroz, January 2000
Inside the different visions and diversity of language in today's art world, the work of this artist attempts something more than the dominion of his craft - superb draftsmanship, a rigorous technique with empathy for chromatic components that accent his pictorial formality, containing the nude form submerged in surrounding antagonistic readings: Water/Fire, Light/Shadow, Masculine/Feminine, imminence/Rupture.
Maybe what I like the most of Tio`s work is this concept of confronting the conflict of opposites, resolving for us the unity, the ties, the nexus with the fragmented which creeps into the recesses of our memories and dreams...
In his work “Dualism” ( oil on canvas, 22”x36”, 2000 ) he assumes the coexistence of two beings into one; like that feminine/masculine side that we all possess and which is folded one inside the other in continuous self flagellation, all happening in cautious harmony
In the piece “Meditation” ( oil on canvas, 30”x40”, 2000 ) the subject in total submersion is a metaphor of the human which dwells in the conflicting psyche; a vision of a diminutive being thrown into the abysmal and the eternal subconscious as if to succumb to his fate; naked inside that shell that we all adopt in life in order to make everyone else accept us into society: myth and technique of frugality, glamour, and mirages, a body being exhibited in a display window: scenic display case for a “product/subject” exposed to immediacy, dressed up with the blinding mother-of-pearl of consumerist society which vacillates in that abysm where desire and the morbid are the seducers.
The piece “Yin Yang”( oil on canvas, 30”x40”, 2000 ) , is evidence of the magic and drama charged into two feminine bodies “Water” and “Fire” which are themselves a simple body intertwined in a tense conjunction by the umbilical cord, (one is a shadow and the other is light) indivisible complements which advance both entities into the commensurate enclave of the “ to be” or “ not to be”
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