Far from the initial arrival at primitivism, the works in the exbitionare characterized by a substantial abstraction of forms. Starting from the existing data, from a trace found, from a point of reference discovered and deepened, it proceeds with the layering both material and mental. The overlapping of the various elements aims to obtain a new cultural knowledge in addition to further technical knowledge. The other ingredients that are part of Brown’s works are time and place, through the use of different materials, the choice of various colors, the search for geographical suggestions.
In these works James Brown manages to immortalize a reality that is constantly changing: a constantly expanding universe.
In the Eclipses a structure, apparently extremely simple, is instead very studied and complex as a musical score can be. This natural theme, which enjoys the charm of absence, in the work of art imitates other shortcomings, other disappearances, which lead to the poetic and emotional imagination. A fragment removed, cut, removed can appear on the same canvas or in another canvas of the series. So where an element denounces its absence, elsewhere it can affirm i
ts presence. The particular structure of the works invites the viewer to explore the voids, to travel among the astronomical elements and to discover the smallest and hidden details.
These works are certainly an expression of one of the characteristics of James Brown’s personality: the continuous research and experimentation of inner balance.
Born in California in 1951, James Brown lives between New York, Paris and Mexico, his current main residence. One of the major protagonists of the International Art Scene, has exhibited in important Museums: MAGI ‘900 (Bologna, 2010), Ceramics Museum (Leeuwarden, 2009), Fisher Landau Center For Art (New York, 2006), MACO (Oaxaca, 2004), Galleria d’Arte Moderna e Contemporanea di San Marino (2003), Centro di Incisione (La Louvière, 2002), Kunst-Station Sankt Peter (Cologne) and Galleria Civica di Arte Contemporanea di Trento (1995).
