Dan Perjovschi’s figures and scenarios, reduced to just a few lines, follow the spontaneous,
subversive gestures of caricature and graffiti. He ironically exaggerates
current political and social events – as well as the affectations of the art industry.
His characters, who inhabit a kind of parallel world, are constantly on our heels,
commenting on the disorders and absurdities of a society formulating itself on a
global scale.
The works of Fernando Bryce – installations consisting of between a few and hundreds
of drawings – are created in a lengthy process of “copying” and “mimetic analysis”,
as Bryce refers to his artistic approach. He copies from historical pictures and
texts from the print media: newspapers, magazines, advertisements, cinema posters,
etc. In “Revolución”, a work comprising more than 200 drawings, in this way Bryce
re-interprets, for example, the history of the revolutions of the 1950s and 1960s.
Micha.l Borremans‘ small-format pencil, ballpoint, ink and watercolour drawings refer
to the artistic, scientific and pop culture pictorial traditions of the 19th and early
20th century. He too draws on themes from historical print media. His suggestive,
highly aesthetic pictorial worlds are pervaded with surreal and ironical expressions
that bring suppressed fantasies and phantasms, pleasure and fear, power and loss of
power into play.
In a way, all three artists refer to the potency – and to the hollow spaces – of the
reproducible image and information media that they project forward in different ways
with their drawings: in the sense of an analysis of social and political conditions that
reads between the lines of media superficialities.
