_Juan Carlos Bracho presents TuttiFrutti at the Alcobendas Art Center until February 1, 2020


Tutti Frutti is an ambitious project that has occupied Juan Carlos Bracho (La Línea de la Concepción, Cádiz, 1970), for the last eight years, and where, as in the rest of its production, the whole assumes error and chance as inescapable parts of any creative method. Bracho, always linked to automated, repetitive processes, as well as a minimal and modular file of graphic resources, now reveals a passion for unexpected color, while maintaining the sobriety, rigor and forcefulness that characterize it. From such a position he has approached here his interest in mono art – chromium from the concept of multipage, that domestic system to obtain economical and large photomechanical images from the sum of nu – meass prints on simple folios. The Tutti Frutti project brings together in its entirety, collected in several boxes/archives, 100 of these multipages, each corresponding to a different color, whose fragment-to-fragment printing is splashing what should in principle be a uniform tone plane with numerous errors, faults, interferences… The result – do shows how “noise” inevitably imposes itself on the clarity of the technique and the machine in its own domains; also that the unexpected and the surprise are always capable of enriching any forecast, planning or norm. In its final stretch, the work plan was completed with two new series, where the initial sequence of errors was reproduced: first from the calcographic language, from the primary colors (cyan, magenta and yellow) plus black and white, and second from the paper embossing technique, through a subtle relief without any ink. At this point, the error chain has already become a kind of hidden code or language. On the route, the cycle from the manual to the mechanical, from analog to digital and from the conceptual to the material, close on themselves on a round trip. This whole set of works implies a reflection on the color and mental construction of the landscape from the most radical abstraction. After all, the emotional bonds we establish with colors depend on what we pro – we connect, just like the scenes of our memories. Don’t take the exhibition’s curator Alonso Alonso Molina,