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Bootes (diptych), 2006. Oil on wood. 110 x 80 x 7 cm. each. Unique piece.

Cignus, 2006. Oil on wood. 260 x 200 x 2 cm. Unique piece.

Cetus (diptych), 2006. Oil on canvas and wood. 200 x 200 x 7 cm. and 50 x 59 x 7 cm. Unique piece.

Cetus (detail), 2006. Oil on canvas and wood. 200 x 200 x 7 cm. Unique piece.

Cetus (detail), 2006. Oil on canvas and wood. 50 x 59 x 7 cm. Unique piece.

Markab (diptych), 2006. Oil on canvas and wood. 200 x 200 x 7 cm. and 50 x 59 x 7 cm. Unique piece.

Markab (detail), 2006. Oil on canvas and wood. 200 x 200 x 7 cm. Unique piece.

Markab (detalle), 2006. Oil on canvas and wood. 50 x 59 x 7 cm. Unique piece.

Auriga (triptych), 2006. Oil and pigment on canvas and wood. 200 x 300 x 5 cm. each. Unique piece.

Hydra, 2006. Oil on canvas and wood. 210 x 180 x 7 cm. Unique piece.

Serpens, 2006. Oil on canvas and wood. 210 x 180 x 7 cm. Unique piece

Draco, 2006. Oil on canvas and wood. 210 x 180 x 7 cm. Unique piece.

Lyra, 2006. Oil on canvas and wood. 210 x 180 x 7 cm. Unique piece.

Capella, 2006. Acrylic on paper / oil on canvas. 180 x 127'5 x 6 cm. Unique piece.

 

Vega, 2006. Acrylic on paper / oil on canvas. 180 x 127'5 x 6 cm. Unique piece.
 

Arcane, 2005. Acrylic on paper / oil on canvas. 180 x 127'5 x 6 cm. Unique piece.
 

Algenib, 2006. Oil on canvas and wood. 260 x 200 x 3 cm. Unique piece.

Castor (díptico), 2006. Oil on wood. 110 x 80 x 7 cm. each. Unique piece.

Rosa Brun
April 20 - June 1, 2006

The essentialization of the material and its forms are part of the artwork’s internal discourse that occurs between the structure, the plastic quality of the materials, their different configurations and meaningful connections.

I take direct decisions allowing myself to be lead by desire and intuition in what I perceive; physical vision looks into aspects where the limitations of the gaze and its hazardous enquiry throws into question the reality of what is visible, to include what is not.

The surface of the work reflects the energy of the direct action, temporary, what happens in the moment, its spatial tension that exceeds the two-dimensional treatment in the painting and that gives it to the object.

The expansion of the movement’s limitations, the edges that continue on, the lines without end, hermetic symbolism, the creation of sequences where the reduction is synonymous with the expansion, where the peripheral or lateral acquires visibility, takes place in the most intense enquiry into the format of the picture, resulting in a sculptural verticality, without losing the reference to the frontal vision and the concealment of the back.

The multi-tonality and its complexity conjure a sense of the sublime. The supremacy of pure sensation, of the non-object, that which springs forth to transcend reason.

Considering the weight and the volume of the work, there appears a feeling of lightness, levity, as if the loss of reality’s weight has been filled by silence, emptiness and emotion. The artworks are a product of an action where chance and calculation converse.

The work’s corporal relation presents us with different references about our perception of what we believe to know, observing different possibilities about the reality of things. To stop ourselves, to pause, in order to establish a point of reference while contemplating the immensity that occupies us, demands going over it internally, conversing with what is perceived. 

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