Crisis Galería: today inaugurates Trapos (Rags), the individual exhibition of Javier Bravo de Rueda
The exhibition that opens Crisis, the Peruvian gallery, follows a deep mental process. The work itself is a transition by itself as part of the idea of collage. From the university, Javier Bravo de Ruedas has had an intense link with this technique over the years. However, on this occasion, the artist expiates that exhausting memory of the millions of pieces of paper that he had to cut throughout his career, treating the collage as an alternative to the process he follows in other projects of his artistic practice: on the one hand, to the detailed planning required by ceramics, with careful sketches and modeling and, on the other hand, his paintings on canvas, where he elaborates an abstraction full of symbols.
In this way, Trapos (Rags), the exhibition that opens today at Crisis, goes from collage with paper to collage with pieces of fabric-rests that in other circumstances would have been discarded-giving way to the free process. The painting became a tapestry and the space between the pieces and the fall of the fabric became plastic elements. One could say that the pieces are nailed to the wall directly and are both a conceptual liberation of the painting and its formal emancipation: they no longer only exist in two dimensions, but occupy a three-dimensional space, so much that one can wear them.
In addition, these pieces that the visitor can wear are another transition more. The tapestries become tunics usable by the public. Without a doubt it is a gesture that is taken with humor, but that goes much further on having the complete reading of experimentation. It is a body of works that celebrates the syncopated rhythm, does not fear neither improvisation nor color.
