He attended Ar.Co and, following a brief stay in London at the Royal College of Art, he enrolled at the School of Visual Arts in New York in 1997, where he lived for the next six years.

In 2004, he settled in Berlin and today has a broad international presence in galleries and museums. Notable highlights include his participation in the 2003 Venice Biennale and the 2004 São Paulo Art Biennial at the invitation of their respective curators, Francesco Bonami and Alfons Hug.

Working primarily with drawing, Jorge Queiroz draws upon a post-surrealist or post-symbolist frame of reference to create an eminently personal universe. A striking feature of his approach is the complete absence of titles or even the enumeration of works, pointing instead to an alinguistic universe whose nature is incompatible with any narrative linearity. In his dreamlike settings, he omits any organization or hierarchy, subverting the figure-ground or interior-exterior relationship in a profusion of lines and marks that seem to turn back on their own entrails. Evoking the alchemical world of the Klein bottle (a bottle that turns back into its own interior, which Duchamp used as a reference in his studies on the fourth dimension), Jorge Queiroz's drawings point towards that fourth dimension as a mathematical possibility and ancient phantom.

In the inversion between content and container that Jorge Queiroz continually puts into practice, an entire perception of dark energy is expressed, one that has accompanied both art and science over the past century. Through extravagant suppositions, such as ectoplasm or telekinesis, and extraordinary evidence, such as radioactivity, magnetism, or electricity, an imagery as fantastical as it is phantasmagorical has taken shape. Jorge Queiroz belongs to this imagery, demonstrating that contemporary art is far removed from the notion of identity as Form, of the skin-ego, of classicism.