Lives and works at Milan, Italy
Juan Eugenio Ochoa was born in Medellin, Colombia, in 1983. He graduated in Medicine in 2007 and then obtained a PhD degree in Cardiovascular Research at the University of Milan-Bicocca. During the period 2011-2013 he attended the department of Visual arts at Brera Academy of Fine Arts in Milan obtaining a master degree in Painting in 2013. Solo exhibitions: 2015: Iconica-Analitica, Curated by Claudio Cerritelli. Galleria Ghiggini, Varese; 2015: «Lirica Analitica», Curated by Erica Capozza, Sala dei Cloni, Caravaggio; 2015: «Lirica Analitica», curated by Claudio Cerritelli, Spazio 110, Vicenza; 2013: “Lirica-Analitica”,KOINÈ fair, Vicenza, Curated by Andrea del Guercio. Biennale: VI Biennale Giovani Monza, 2015. Palazzo dell’Arengario Monza; 56 Biennale di Venezia, collateral Italia Docet, Laboratorium, Palazzo Barbarigo-Minotto, 2015; XI Edizione Genova Art expo, 2015; VI Biennale di Genova, 2015. Awards: Winner (First Place Painting section) XI Premio Nazionale delle Arti “Premio Claudio Abbado” Rome, 2015; Winner Lynx Prize, Trieste, 2015; Winner XIV Ghiggini Art Prize, Varese, 2015; Winner YICCA Prize, Lugano, Switzerland, 2014; Winner IV Premio Nazionale Opera, Ravenna, 2014; Winner Premio Nazionale per la Pittura Maimeri, Fondazione Maimeri and Rivista Academy of Fine Arts, Milan, 2012.
Iconica Analitica is not only the title of a painting, but a modus operandi, a program of work based on two essential assumptions of the art of painting: the figurative vision, and the abstract dimension of the image. What my painting actually represents is an abstract-figurative synthesis, a binary mental threshold placed on the limit between the appearance of the image and the disappearance of its contours in a defined or undefined geometrical abstraction. The creative process of my paintings follows the principles of traditional oil painting. The pictorial stratification obtained with the overlay of transparencies and luminous veils wraps the morphological profile of the image which can no longer be precisely identified, escaping from any possibility to be recognized. What emerges from the transparencies of the painting is thus the primordial mystery of the faces, which appear in the evanescent space of the painting just at the point to reveal something, but far from revealing. What really matters is not the revealed thing, but the the process of revealing itself. It is the mystery of the revelation what promotes the dialogue between the iconic and abstract dimensions of the image, which instead of going into a conflictual relationship, remain always reciprocally amplifying. Thus, the observation process returns once again to analyze and reaffirm the essential nature of the painting: to be a sensible, perceptive phenomenon.