Jorge Cabieses

The Fernando Pradilla gallery presents the second individual exhibition in Madrid of the Peruvian artist Jorge Cabieses (Lima, 1971). Under the title The Intercepted Image, a selection of recent works made on paper, canvas and phenolic plywood is arrayed. Appealing to the geometric language of synthetic forms, Jorge Cabieses combines lines, planes, rectangles and circles, to build a pictorial field that refers us to the visual codes of hard-edge painting. However, the new works in this exhibition incorporate stains, brushstrokes and freer strokes on intense colored backgrounds, which combine calculation and intuition, reflection and spontaneity.
The versatility of techniques and the use of innovative supports has characterized the artistic practice of Jorge Cabieses. A wide array of materials with which Cabieses has composed his oeuvre: graphic patterns from the seventies, plastic and wooden pallets, folds of magazine pages, religious prints or advertising posters, melamine, Gobelins, aluminum sheets, synthetic foam conglomerates and polyurethane on phenolic plywood.
In the publication that the Fernando Pradilla Gallery published on the occasion of the exhibition, Alfonso de la Torre has written the text The Intercepted Image: “Cabieses’s painting bears that polyphonic lineage in that he champions the advent of an extension that is completely different from that of the painting, in such a way that he constructs his paintings by probing into another dimension of the visual space off-frame, evoking those artists who sought the lost dimension of space. An annexation of a territory that stands both far and close to the demesne of painting, since—such is the case of Duchamp—there is in Cabieses an apparent undoing of forms in tandem with a rigorous formal construction, both of which are bearers of different types of infinitude.
Regarding the title of this exhibition by Jorge Cabieses, Alfonso de la Torre continues: “the term intercepted representation comes from Mehdi Belhaj Kacem, Esthétique du chaos, Tristram, 2000. The “intercept” is neither concept nor precept, that which is trapped to then let go, that movement of a force.”
“A representation frequently intercepted by that labor over old images in a reappraisal endowed with a keen sui-referential component, rags of fiction submitting to the trial of beauty, abutting on the passage between the heterogenous in a set of artworks which become not so much concept or precept but the exercise of a visual movement of force, a friction—in the artist’s own words—which is laid under the eyes like the mise-en-scene of an attempt at truth, intimate fracture, alike he who performs a hollowing into the heart of a presence.” As the artist explained: “I am interested in the friction generated between the existing images as forms and designs with the materiality of objects such as Gobelins, lithographs, grocery bags, etc.”

Jorge Cabieses studied at the Corriente Alterna School of Arts in Lima and has been selected twice (2012-2013 and 2014-2015) for the Cisneros Foundation (CIFO) Scholarship and Commission Program for emerging artists. His work has been exhibited in numerous group exhibitions and international contemporary art fairs such as The Armory Show (New York); ArtLima (Lima); ArtBO (Bogotá); ArteBA (Buenos Aires); SP Arte (Sao Paulo); Pinta London (London); ZONAMACO (Mexico D.F.); among other.
In 2022, Jorge Cabieses was selected to participate in the group exhibition 12 + 10 Contemporary Art of Peru; an exhibition that brought together works by 12 contemporary Peruvian artists, represented by 10 prominent Spanish galleries. The exhibition was organized by the Embassy of Peru in Madrid and the Carlos de Amberes Foundation and was curated by Claudia Arbulú.
Likewise, Jorge Cabieses has been part of other notable exhibition projects at the Museum of Lima (MALI); in the Casa de América in Madrid or in the Museum of the Nation in Lima. He has been a shortlisted in the ICPNA Contemporary Art competitions (2018), Passport for an artist (2001, 2005) and in the Fifth Telefónica Competition (2001). He was selected for the Abstraction in Action project coordinated by curator Cecilia Fajardo Hill for the Sagayo & Pardon Latin American Art Collection (2014), as well as for the exhibition Ojo Latino Miradas de un continent of the Luciano Benetton Collection (2009), presented in the Museum of Contemporary Art of Santiago de Chile. Works of his authorship are found in prestigious art collections such as those of Cisneros Fontanals Art Foundation (CIFO), Eduardo Hochschild, Tanya Capriles, Lilly Scarpetta and Luciano Benetton.