Juan Carlos Bracho_Color field_05/11/13/_07/27/13_Dossier

Under the title “Color field” presents the first solo exhibition in our gallery of Juan Carlos Bracho (La línea de la Concepción, Cádiz, 1970), a further specific project developed for our space. The first, also, where the Bracho, who to date has worked always preferably subject to the simplicity of black and white and gray scales, opens the spectrum full color.

While it is true that on other occasions he had attended the primary weekday (RGB), as metaphorical incarnation contained all possible images, color field goes one step beyond and internal without inhibitions in the world of the nuances, the scales harmonics of tones, the complementary contrasts, shades and more subtle vibrations of the chromatic spectrum. Thus, the sensory aspects inherent to the perception of color enrich the conceptual substrate with so far this had been treated in his work.

The split process is the MultiPage, a precarious and peculiar mode of configuration of his own images (his idea of drawing, as defined it Óscar Alonso Molina), conducted from household impressions, that the artist showed for the first time in his exhibition for the ABC Museum in Madrid, a couple of years ago.

What Juan Carlos Bracho proposed this time is the deployment of a chromatic circle of eighteen colors -of which we present thirteen- adapted to the travel of the room, in such a way that the viewer will be submerged in the middle of large areas (2 x 2 m) c.u.) monochromatic dedicated to a particular color. The specific menu that displays here cannot be received as a simple drop-in infantile pleasure before the Rainbow or animated, lit, contrasting tones. No, these fields of color, supposedly uniform and regular, if we are to rely on how it is sorted in its conceptual approach, within seem to propose us a concentrated experience of the landscape and the vacuum. In these multi-page folded like a map, everything unfolds a territory or field (landscape) monochrome: an orography of paper with minimal reliefs and striations, highlights and plains, peaks and valleys.

The home inkjet printer with which they are made inevitably leaves in operation a variable and unforeseen series of errors that the artist respects as a substantial part of the process. Thus, the conceptual and technical matrix, so cold and aseptic, is compensated for by all those small alterations that seem to refer ironically to the distant “Color Field Painting” and its derivatives. Indeed, from Rothko to Morris Louis, through Stella or Reinhardt, multi-page series refer us to many of the names most admired by the artist himself, who very discreetly pays homage here to his own private museum.

Finally, Bracho presents “The state of leaving all” (2013), a video of more than one hour of duration, where is superimposing on, through transparencies, six hundred images to saturate the projection, slowly drawing an endless landscape wich subtly fluctuates before our eyes. The artist returns to resume in this exhibition reflects on the mental construction of the landscape from the most radical abstraction, and the romantic category of the sublime. Finally and after the emotional bonds we establish with the color depends on what we project on it, as happens with the landscape in our memories.