My research has its development in concepts like duality. It gives rise to a chain of oppositions which links are articulated between classic and modern, objective and subjective, instinctive and reflexive, the whole and the fragmentation.

There is an exigency between the observation engaged with feelings and the expressive ways of the artificial language. I propose the work from a set of opposite concepts, showing something and hiding it.

We can find static coloured areas where the surfaces vibrate and move in the space between their selves and us. By this process we get immersed in the tactile values of the shape. The size of the works is related to human scale. We measure our selves with the space generated by the object, feeling our own presence, bringing near conditions without limit, being more a function of the space than of the shape.

I experiment with materials in options of basic monochrome for each element that takes part of it. These materials are chosen concerning obtaining more richness in the range of epidermic textures that clarify my theory.

In my work, the elements get combined and juxtaposed following a discontinuous structure, generating new possibilities of association. Its key objective it’s to suggest the ambiguous character of the perception of the Real. I propose a structure’s organisation that collects aspects from the vision in 2D and 3D. It also study in depth aspects related with its visual location and those things that define us a system, to reach the maximum precision in all the fields.

I understand the object, more than itself, as prolongation of the “Painting”.

The different temperatures of the colour involve a challenge to their perception, alternating cold and warm.

Each work gets defined by a loss of elements that can distort the language, investigating in the optical game of the surface, the implication with the observer.

I build three-dimensional objects with a high allegoric component and with subtle internal relations. I constantly declare the sensual experience of the work as well as its artificial nature.

I am looking for the equilibrity between the different modular elements, to which we are adding the richness of the superficial textures, inside the different options of a “basic monochromy”, creating contrasts that make  vibrate the optical surface.

I am keeping the ambiguity among the pictorical and the sculptorical conceptions, emphasizing in the specific value that the weight plays in a so dense compositions.

The self-reflection of the work, the interrelation of the movement of the elements, the colour, the spatial layout, the light distribution and the shadows are determinating so many possibilities, surprising shades are generated that direct the global effect towards the one which is characterised  as the visual transcendence.

The revalorisation of the pure shape involve the emancipation of the material which is personified thanks to the of its specific texture, that also becomes a main element of the shape.

The new form exists because of a premise of internal construction, because of its own logic. Each form is free and individual.

The observer perceives and takes up the space of visual representation.

Form and colour get together in a lot of planes which get intercepted continuously, searching for new associations and relations between the colour fields and its situation in the room.

The autonomy of the colour as the reason of plastic organisation gets presented in these works including the mobile character of the visual path of the observer.

ROSA BRUN