Juan Jaramillo was an artist sui generis in attitude, arguments and purposes. However, his painting exposes his adherence to the principles of modern art as it breaks with the aesthetic conventions of academicism and develops new expressive possibilities.

Painting is not the ultimate goal of his production: having overcome the physical appreciation of it, Jaramillo leads us to glimpse an intention that is not only lyrical, but also spiritual: the consideration of painting as a practice of the spirit and as a transcendent fact.

This is why it is not easy to locate his work within the broad spectrum of trends and movements that this adjective encompasses. As art critic and curator Eduardo Serrano states, his work is decidedly abstract and, as such, reminiscent of numerous works and trends, but not in a very orthodox or imminent way.

The definition most similar to his work is, without a doubt, that of Abstract Expressionism and within that very broad movement, that of Lyrical Abstractionism. His work conforms to the idea raised since Ancient Greece that “painting is silent poetry” and that between painting and poetry there is a homology that results in an eminently creative relationship.

His pictorial proposal is centered on spontaneous gestural abstraction, made without prior sketches and based on intuition. Most of his work is part of a great experiment in which the stain and the gesture are fundamental as expressive elements, while the color is more sensitive than mimetic: the marks, traces, textures and transparencies give it a manifest visual appeal. and they awaken a vehement desire to follow the painter's movements and assign interpretations that tend to be different for each person.

“I feel very happy, because my work has now become an instrument of God. Through paintings I transmit messages that I know do not come directly from me. I feel happy, because in the midst of all daily things, God always manifests himself; in what I do, in what I feel, in what I read.”