Animita

He studies Painting at the Facultad de Arte de la Pontificia Universidad Católica del Perú, complementing his studies in Chile, at the Pontificia Universidad Católica de Chile and the Huara Huara Contemporary Ceramics Workshop. In 2012 she also completed her studies at The Art Students League in New York, USA. Upon completion of her studies, she obtained the honorable mention of the Critics Award awarded by the PUCP in 2014. Among her most important exhibitions are Y Generation at Y Gallery (Lima, 2017), Bajo Un Mismo Ruido at Galería Crisis (Lima, 2017). In 2018, Bravo de Rueda would exhibit her second individual work: Visiones Para Ejercer, in the Espacio 22 gallery (Lima) and in 2019 Searching for Paititi Subsòl Espai d’ art / Centro Cultural de Bellvitge-Gornal (Barcelona).Javier Bravo de Rueda has been present in different Jorge López exhibitions, such as Abierto València and ARCO art fair. The artist has recently been awarded a Botín Foundation Scholarship.His work is focused on the development and creation of a personal cosmology. Using various rhetorical forms such as allegory, metaphor and personification, we attempt to compose a plastic discourse that is a reflection of the society that welcomes and conditions us. Through a deep analysis of what is understood as cultural syncretism, the phenomena produced by multiculturalism, material and immaterial accumulation and the limits between art and craft are studied. With this, the conception that we are experiencing the birth of new hybrid cultures pushes us to a constant search for identity.Coming from Latin America, the transition between pre-Columbian, colonial and republican creates points of connection between the Western imagination with the constant questioning about the origin of the traditions that endure. Which leads us to analyze the different ways in which history is accumulated, which in my case is proposed to fiction as a structure for the elaboration of a false mysticism and esotericism that gives rise to establishing a more critical relationship between myth and ritual. . With the constant rereading of the archaeological past, the logical deduction mechanisms used to process finds are interpreted.Being able to test the limits of gravity, color and texture is relevant when trying to push the limits of classical and traditional techniques. The objective of all this is to raise structures that link the constructive and the fragmented narrative, proposing different approaches to the objects, whether of an artistic, decorative or utilitarian nature, often making use of graphics as a binding factor.