Jorge Queiroz was born in 1966 in Lisbon (Portugal). He lives and works in Lisbon (Portugal).


Since the end of the 1990s, he has exhibited in numerous institutions: What paper can support at the Horst-Janssen-Museum in Oldenburg (Germany) in 2006; at the Museu Serralves in Porto (Portugal) in 2007; Devaizo das pedras da Calçada a praia! at the Fundaçao Carmona e Costa in Lisbon (Portugal) in 2012; 0 Caso at the Pavilhao Branco, Museu da Cidade in Lisbon in 2015; he is present at the Biennale de Rennes in 2016; and, most recently, his work was awarded the Daniel & Florence Guerlain Contemporary Art Foundation's Drawing Prize at the Autofictions - Contemporary Drawing exhibition at the Wilhelm-Hack-Museum in Germany.
He participated in Clandestine, 50th Venice Biennale, Arsenale, curated by Francesco Bonami, Território Livre and curated by Alfons Hug, 26th Sao Paulo Biennale, Of Mice and Men, 4th Berlin Biennale for Contemporary Art, Berlin.


The works of Jorge Queiroz are included in many prestigious private and public collections including those of MoMA (New York), SF MoMA (San Francisco), Museum of Contemporary Art of Funchal (Portugal), Carré d'Art, Museum of Contemporary Art (Nîmes), the Centre Georges Pompidou (Paris), Deutsche Bank (Frankfurt), Banque Postale (Paris), Serralves Museum of Contemporary Art (Portugal), Calouste Gulbenkian Foundation (Portugal), FRAC Haute-Normandie (Sotteville-les-Rouen), FNAC (Paris) and CaixaForum (Madrid).


Jorge Queiroz has been represented by Galerie Nathalie Obadia, Paris/Brussels, since 2004.

 

From the entirety of his work, emerges a manifest and communicative pleasure of painting. The generous brush of the artist is gourmand. He swallows every square centimeter of the canvas without leaving any room for blank. Painting is everywhere. It cascades down, climbs cliffs, plunges into terrestrial or marine rifts, borrows underground networks to spill out onto the surface and evaporate into inland lakes. Islands emerge in these seas of oil materialized by intense flat colors. These are as many breaths necessary for the blossoming of life in the paintings of Jorge Queiroz. It manifests itself in rare silhouettes making furtive appearances, a little like a mirage floating on the horizon. There is something reassuring about this human presence. It proves that the nature depicted here is not hostile. It may be rugged, even tormented in places, but it is conducive to the blossoming of life, whether natural or fantastic.
One enters Jorge Queiroz's painting through many and varied paths, whether aesthetic or spiritual, in the manner of the medieval paintings of Rogier van der Weyden and Jerome Bosch whose masterpieces have irrigated Iberian art since their arrival in the peninsula in the sixteenth century. Like the religious paintings of these ancient masters, the works of Jorge Queiroz require the viewer to take the time to observe them. The contemplation that they imply not only allows us to take the labyrinthine paths that offer themselves to us and thus meander between materials, surfaces and colors, but also to slide subtly from the earthly to the supernatural, from the temporal to the spiritual, with his eye and his propensity to dream as his only vehicle. This exploration of painting and the mysteries that it conceals is therefore inscribed in a long time. This temporal dimension that permeates the artist's painting arouses in the viewer a meditative state similar to that felt before the works of Eugène Leroy who, before Jorge Queiroz, had managed to inscribe in the thickness of matter the mysteries of his psyche.
Jorge Queiroz's landscapes have a topography of their own that is probably more dreamlike than real. To walk through his imaginary reliefs, to get lost in them or to try to recognize animal, mineral or vegetal forms supposes an active approach, which the artist himself has found very popular: "Each painting contains a multiplicity of scenes which are all related to a moment or a portion of space. The difficulty is to be able to find the link that organizes, that gives a plan of consistency to all these heterogeneous elements. This is why anyone who looks at my works must be prepared to do so actively". This narrative weave between the works proceeds from a construction that remains enigmatic for the painter, who confesses that he does not want to reach any precise objective when he creates, but rather "to respond to premonitions" or "to echo a call".
One can well imagine Odilon Redon adopting, in his time, a similar attitude at the beginning of his works. Like those of the 19th century symbolist painter, Jorge Queiroz's paintings are tinged with a mysterious poetry that invites melancholy. His works also show the same chromatic audacity that testifies to a Dionysian relationship to painting. The drunkenness and irrationality correspond perfectly to the profusion of details and the fantastic dimension that characterize the universe of Jorge Queiroz. However, this universe cannot fully blossom without a search for balance between the formal and spiritual elements that make it up. Friedrich Nietzche, following his philosophical account of the Birth of Tragedy (1872), would have assimilated this aspiration for order and stability with the Apollonian part present in Jorge Queiroz's work. Like the Greek tragedians before him, the Portuguese painter situates his artistic quest between the two opposing attractions of balance and chaos.