Pablo Vindel was born in Cuenca (Spain), 1990. A visual artist and writer, in 2014 he graduated in Fine Arts from the Polytechnic University of Valencia (Spain) and the École Nationale Supérieure des Beaux-Arts de Paris. That same year he crosses the Atlantic to the renowned School of the Art Institute of Chicago (MFA in Studio), where he also was part of the educational team at the ‘Fiber and Material Studies’ and ‘Art History, Theory, and Criticism’ departments. In 2016, after completing his studies in Chicago, he was selected as the 2017 recipient of the Sullivan Scholarship, which opens the doors to a second program: a low-residency Master’s in Creative Writing, based at Stetson University (DeLand, Florida). With a clear focus in unconventional poetic forms — concrete poetry, sound poetry, video-poetry — Stetson’s MFA program bridges him with artist residencies, workshops and conferences at the prestigious Atlantic Center for the Arts (New Smyrna Beach, Florida) and cultural institutions in Santiago de Chile and Rio de Janeiro.
Vindel has completed several artist residencies, the latest at the Creative Glass Center of America (2017)—with a competitive Fellowship for artistic production—, and soon at ACOSS | Art Center of Social Studies of Yerevan (2018). He has participated in solo and group exhibitions, and fairs worldwide at LAB36 | galeria SENDA (Barcelona, 2018), the Armenian Center for Contemporary Experimental Art (Yerevan, November 2018), The Overlook Place (Chicago, 2018), Atlantic Center for the Arts (New Smyrna Beach, 2018), ArtRooms (London, 2018), M.F. Husain Gallery (New Delhi, 2016), EXPO Chicago (2015), Bonnafont Gallery (San Francisco, 2014), and the Diego Rivera Gallery at the San Francisco Art Institute (2013), among others.
As a multilingual artist and writer my practice navigates permeable spaces between familiar and foreign fabrications: aphorisms of public mistrust and centrifugal forces, of fragmentation and ontological integrity, of ‘actuality’ and translation. Currently, I explore these themes through the intersection(s) of intimate para-fiction, poetry, video-performance, drawing and glass.
A practice that complicates transparency invites new voices to hint at their presence, new surfaces to unwind and provoke. Reimagined forms of the transparent offer up previously unseen visions, ways and histories; implicate transforming latent spaces of the material world and esoteric manifestations in the immaterial and literary. They embody strains of revolution and transmutation that underlie all myth, alchemy, science, as they speak of original orders and systems not yet classified.
No vision imposed, only space for listening to how material responds to artistic gesture, how it (voice/glass/body/page) memorializes and reinterprets that which is near and far.