Espacio 22
Lima, Peru

Revealing the process space in artistic practice is honest and to some extent magical. “Visions to exercise” could be testimony to the sensory and material narration of a trip, one that appropriates recurring esoteric elements in ancestral wisdom and that explores, in this way, the raw and frontal aspect of the urban imaginary.

The drawing is the diary of this trip. Each component has a story to tell and you have to find the nonsense in the story to understand it. The automatic outline, without origin or apparent order, classifies the dream forms and irregularities of this story. So, the plastic formula has been created to respond to the experiences of an unreal daily life. The work of Javier Bravo de Rueda discards mystical obscurantism to justify the sculptural condition of his work; one that shows the relationship that objects have with the creative processes that generate them. With “Muro” (2014–2018), the artist has rediscovered, in an almost archaeological action, the fragments of his own language. 

A fragmented and stacked wall in his workshop reappears as a violated architectural vestige in a possible current street scene. “Relics in the Sun” (2018) presents a series of tectonic formations that seem to be trapped in a weightless phenomenon. A stove-offering that accumulates in its structure chronicles of tradition and popular expression while envisioning the dynamics of self-construction of the complex and precarious.