Pedro Vélez’s work merges his interest in art criticism (including his own writing) and journalism into what he calls “visual essays” that take the form of large sculptural paintings, photographic collages, and limited edition posters and postcards resembling the look and feel of movie posters. Vélez also incorporates text in his work, based on hashtags lifted from Twitter, that are scathingly critical as well as poetically cryptic. Taken together, Vélez’s multi-disciplinary approach creates a vibrant, stream-of-consciousness commentary on a variety of issues, encompassing race, politics, and other aesthetic concerns.
Pedro Vélez (b. Puerto Rico, 1971) obtained his M.F.A. at the School of the Art Institute of Chicago, and his B.A. in Communications at the Universidad del Sagrado Corazón in Puerto Rico.
Recent Exhibitions Include: The 2014 Whitney Biennial in New York; Morally Reprehensible at 101 / Exhibit, LA; #DrunkDictators, an “On The Wall” installation at Monique Meloche Gallery, Chicago; Ransom Notes and Surrender Flags at AREA, Caguas Puerto Rico; No Regrets at Oliver Francis Gallery in Dallas.
His work as both an artist and writer has been discussed in the LATimes, Chicago Tribune, Al Jazeera America, Huffington Post, New York Times, Artforum, Mutual Art, Frieze, Artspace and The Miami Herald among many other publications. For 10 years Pedro Vélez maintained a regular column about the art scenes in San Juan and Chicago for Artnet Magazine. In addition, his writing has been published in Newcity, New Art Examiner and Arte al Día.