MIGUEL TIO 

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REVIEWS

 

@The Journey After

By Henryk M. Fantazos on 20 June, 2009. Visionary tribe

I praise your art because you, among a good handful of others, create serious visions. So much of the "surreal" art is no more than embarrassing visual jokes. Huge difference there! Painting should radiate vital commitment to a profound vision and your art surely has it.

 

@Haunted Room

By Henryk M. Fantazos on 19 June, 2009. Visionary tribe

Miguel- congratulations! Quality of your workmanship makes you a Painter and I happen to believe that it is by far more important to love and master our craftsmanship than have great visions without any serious skills to express them. That is why your paintings are so successful!

 

@The watcher

By Denis Peterson.  November 24, 2007 Deviantart

Paintings of water have always seemed to beckon an unleashed power from within. It is an entire subject in of itself regarding healing, bonding, uniting, cleansing and renewal; yet this work is more than a singular theme, and certainly could be more than one painting as well, on any number of levels.

Beautifully rendered and superbly balanced, it seems to be a refreshingly new stylistic approach, yet it is still recognizably a Tio and possibly one of the most outstanding pieces that I have seen of your work to date.

The subtle lighting, translucent coloring, mottled shading, dramatic juxtaposition, illusionary depth, well defined form and reflective surfaces all add up to a really, really solid piece.

 

 

@Art of war - Exhibit offers views of 9/11, Iraq

By Cara O'Brien

Loveland Reporter-Herald

October 5, 2007

 

@In This Life

By Jeanne Schoaff. Director of Programs, Museum of contemporary Art (MOCA)

Fort Collins, Colorado. September 2007

 

@8:30 AM

By Denis Peterson.  June 1, 2007 Deviantart

This is an epic piece by anyone's standards. The perspective and depth of field leave one's sense of balance somewhat interrupted. I think that if I were to see this one up close, I would need to hold onto something to keep standing. This is a modern Renaissance work with perfect foreshortening technique and an almost silvery glow throughout the muted color scheme.

 

@Calling all Angels: The Transcendent Vision of Miguel Tió

By Ed McCornack, September/October, 2006 Gallery & Studio Magazine

 

@Daily Deviation feature

By Scott Everinghan 08/05/2006 (Deviantart.com)

A great figurative painting with all the workings of a dream. Forbidden Face by Miguel Tió exemplifies reproducing memory into mastery.

 

@Miguel Tió

By Joan Lluis Montañés

Arte Iberoamericano Contemporáneo

Argentina, 2005

 

@ MIGUEL TIÓ

by Ricardo C. Lescano Grosso

Argentina

 

Miguel Tió is a symbolic artist. A passionate for the universe, because the universe is in the work, he leads us to think: How would it be possible that I am fair when I look at his work, within reach of my hand, when I am rather skeptic about the spirituality? Another representation could be brought to a closer interpretation of God or spirit, but I suppose that still those ones who are less susceptible to spiritual states would agree that the symbol or the spirit have something in common with the painting. Raw material and spirit, in this case, go hand in hand, and they run inch by inch, for some arriving first the matter, first the spirit for others. 

But, together in the pictorial space, simply supported in the color and the depth of the figures and the background, either they confront or they join, according to what we want to interpret, the symbolic or the spiritual model to contemplate the art, perhaps for Miguel Tió, a mixture of materiality and spirituality which is typical of life. The work installs itself, connecting this opposite rebound of the matter and the spirit through the painted space, unequal births and convergent intentions that cause a vigorous and inevitable emotion.  The painting of Miguel Tió is so symbolic that still those ones who are less susceptible to spiritual states would agree that the sky, the bled hearts, the angels and so many other figures on the canvas are part of his constant realities. 

Ricardo C. Lescano Grosso

 

@ The subject combine with the perfect quality of the technique, are more than 10/10

By Diane Tremblay, 3/16/04 (Critic's Corner at Fine-Art.com)

 

Really interesting to see your vision just before ... for me it's the best representation of the event I ever saw till now.

Il y a quelque chose de tres reconfortant dans cette image. Merci.

 

@ Another great Work

By Michael Sprouse, 3/16/04 (Critic's Corner at Fine-Art.com)

 

This is by far, the best 9-11 work that I have seen and I have seen LOTS of it.
Congratulations. You are indeed a fine artist!

M. Sprouse
www.sprouseart.com

 

@ By Michael Sprouse, 3/16/04 (Critic's Corner at Fine-Art.com)


This is an exceptional work in my opinion for many reasons two of which I will list here

1: It is wonderfully rendered. The forms are brilliant with your use of light and subtle shadow. The lines on the palms and feet of the subject are an exercise in subtle communication as they work on so many levels, Not only as skin wrinkles, but you have somehow managed to capture great emotion in them, they remind me of the ripples formed on the water after a pebble has been dropped on the surface. The composition is perfect in these works and works to use the entire body as a form of communication. I know that there are those out there who will dismiss this work as individual scenes of someone's ass in your face and that is a pity. In my opinion, you have very successfully used non-traditional figurative imagery to relay traditional communication themes, forcing the viewer to formulate an opinion and a reaction.
2: The three very separate color choices also work to create the same messages as above. Each very deliberate and each very successful. I view the violet scene as inquisitive and questioning, the red as anger and subversion, and the green as acceptance and meditation.
SO, again, I say job well done!

M. Sprouse
www.sprouseart.com

 

@ Fine sentiments expressed in a fine image Miguel

By David Baker, 2/25/04 (Critic's Corner at Fine-Art.com)

 

The various depictions of hands clasped is particularly powerful, as is the nakedness of the figures. There is something vulnerable and human about this entire image. It is also a highly spiritual piece, both in form and colour. I am not at all religious myself, but if I were I would more than likely have my faith reinforced by this wonderful piece.

David B.

 

@ 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”

 

Critiques from d`Art Members

@"Apocalipsis" o las posibilidades de Miguel Sánchez Tió

Por Marianne de Tolentino. Listin Diario,

Republica Dominicana, Miercoles 17 de Agosto, 1988