Mier signature Juan Pablo Mier

Mark, color and gesture are the three axes that organize the practice.

The mark signals the arrival of a decision. Color fixes an emotional temperature. Gesture transforms physical release into composition.

1 m · Works on this page are shown at true relative scale. Hold the cursor over a painting to see its surface.

The mark

The mark retains the quality of an unrepeatable action. A line enters the surface with its own speed, pressure and degree of tremor. It can suggest a figure, cut through a color field, open a void or destabilize the composition. In every case, it makes the moment of its arrival visible.

Like a note struck on the piano, the mark is inscribed with its intention and its risk. It organizes, interrupts, asserts.

Retractus 013: green, blue and black strokes with fine ink lines suggesting a profile, on white linen
Retractus 013Oil and ink on linen · 50 × 50 cm · 2023
Retractus 015: orange, green and blue strokes with a fine black line, on white linen
Retractus 015Oil and ink on linen · 50 × 50 cm · 2023
Untitled, 2019: fine lines and muted color marks across an orange ground
UntitledOil on canvas · 150 × 150 cm · 2019
Reserved Silence 010: violet, lilac and orange oil-stick lines building figures on white linen
Reserved Silence 010Acrylic and oil stick on linen · 121 × 81 cm · 2025
Reserved Silence 009: black, grey, blue and red oil-stick figures on white linen
Reserved Silence 009Acrylic and oil stick on linen · 121 × 81 cm · 2023
Reserved Silence 011: turquoise, yellow and magenta oil-stick figures on white linen
Reserved Silence 011Acrylic and oil stick on linen · 152 × 132 cm · 2025

In this practice, error does not exist as a category. What in another context might be corrected becomes, here, the most honest mark of all.

Color

Color builds atmosphere, intensity and emotional weight. Some paintings are dominated by blues, greens, grays or whites that produce containment, distance or silence. Others bring yellows, oranges, pinks, reds and blacks with a more direct energy.

It is not the color that was thought. It is the color that was felt.

Sinfonía, Allegro con Fuoco: pinks, reds and violets crossed by blue and black lines
Sinfonía · Allegro con FuocoOil on linen · 170 × 240 cm · 2025
Untitled, 2025: layered blues, whites and violets
UntitledOil on canvas · 166 × 166 cm · 2025
Found in Translation 025: a tall canvas with yellow and orange forms and black lines over grey
Found in Translation 025Oil on canvas · 169 × 86 cm · 2023
Noise: blue and yellow gestures over saturated red
NoiseOil on linen · 55 × 55 cm · 2025
Untitled, 2020: angular blue, violet and teal planes with fine lines
UntitledOil on canvas · 164 × 164 cm · 2020

Gesture

The piano demands precision within a confined space: the hands move across a fixed field. Painting displaces that energy toward a wider physicality, through the arm, the shoulder, the torso, the step forward or back.

Gesture is where the work becomes most his own: a tension between control and release, craft and vulnerability, form and excess.

Retractus 030: a wide canvas of purple, ochre, white and black gestures
Retractus 030Oil on canvas · 263 × 165 cm · 2020
Why Not?: dense black, magenta, pink and ochre gestures
Why Not?Oil on canvas · 170 × 170 cm · 2020
Sinfonía, Contrapunto 2: two blue and red figures against pink, violet and teal
Sinfonía · Contrapunto 2Oil on canvas · 55 × 55 cm · 2025
Untitled, 2018: two figures emerging from white, ochre and black passages
UntitledOil on canvas · 104 × 102 cm · 2018
Dinner Party: pale masked faces above a black mass and a red figure
Dinner PartyOil on canvas · 101 × 112 cm · 2018

The painting holds the frontier between abstraction and figuration as a permanent condition rather than a problem to solve.

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