The art gallery Fernández-Braso presents, for the first time in this space, an exhibition dedicated to the artist, Rosa Brun (Madrid, 1955). The sample is part of a program Opening 2016, organized by the Association of Contemporary Art Galleries in Madrid.
"Monk by the Sea shore", 1809-10, C. D. Friedrich, one of the most emblematic works of the German romanticism, has been for Rosa Brun a reference to artistic and emotional throughout his career. A small figure in contemplating the immensity of the creation through three elements, three color planes: beach, sea, and sky. That experience religious, transcendental, acquired in the NINETEENTH century aesthetic category: the sublime romantic; a concept that will evolve throughout the History of Art, until you get to the middle of the last century to acquire another name: the sublime abstract. Artists like Clyfford Still, Mark Rothko and Barnett Newman show affinities visual and emotional with their unprecedented. The figures and the evocation of nature are transformed into large fields of color that are overwhelming to the viewer. Robert Rosemblum, the great critic and historian of the united states who researched and published this drift of the art, points[1] that "there is an aspect of not less fascinating in the work of Still, that is the paradox that the more elemental and monolithic is its vocabulary, more complex, and mysterious are their effects."
Rosa Brun has always emphasised the importance of Rothko and Newmann in their work. Also highlighted[2] the commissioner M. C. Cerullo, "the movimieto colorfields proposes the treatment of the painting as an autonomous object. In this painting the color is released from its functions denotativas, relational, and defining, acquiring an independent value, are not presented in small areas defined geometrically, but the color saturates the large dimensions of the works. It is within this context that we must approach the work of Rosa Brun".
Juan Manuel Bonet expressed[3] clearly in the text of the catalogue of the exhibition curated by Alfonso de la Torre On colour: "To understand the work of the painter, his purism, his love for the elementary shapes and colours shining, his way to combine boldly different materials and leaving the boundaries of the box, and their craft, sometimes with approaches that lead us into the territory of the sculpture, or even of the installation,
obviously you have to make reference to art minimal american and its history, but also to their european counterparts -for example, the German pioneer and Blinky Palermo-."
The exhibition that can be seen in Fernández-Braso, formed by a score of works made in the last two years, is a further step in the consistent and progressive evolution of Brun, "considering different interpretations of space and matter, investigating the relationship between the two, their implications perceptual, as well as the notion of limit", in the words[4] of the artist. The paintings-or any object-painted-are constituted by different levels "that overlap or cover giving a glimpse of lines and edges semiocultos that multiply the final vision of the work, redefining itself in function of the point of view of the spectator."
The titles of the works in the exhibition refers to oceans and seas, far-away and exotic. Red, Black, Kara, Aral sea, Baffin, Bohai, Frisia, Wadden sea... it is Not by chance that the term latino classicus from classisliterally fleet (naval), with which the romans attempted to organize a geometric order and aesthetically consistent in the chaos overwhelming the waters of the sea. We Friedrich. And he again Rose Brun.
[1] Robert Rosemblum, The sublime abstract. In The abstraction of the landscape. Romantic nordic abstract expressionism. Fundación Juan March, Madrid, 2007-2008.
[2] M. C. Cerullo, Color on Color, Frost Art Museum, Florida-MACBA, Buenos Aires, 2011.
[3] Alfonso de la Torre, On Colour, Cultural El Corte Inglés, Madrid, 2015.
[4] Rose-Brun, in conversation with the gallery.