Montevideo, Uruguay, 1936.
The chromatic geometries of Julio Bauzá, located between minimal art and concrete art, are the result of the evolution experienced by this artist throughout a long and prolific career.
On the other hand, the base of these chromatic geometries also underlies Bauzá's interest in a serialism framed in the minimalist presuppositions that would have resulted in the realization in previous years of works whose leitmotiv was none other than marble cubes, inserted on the pictorial plane giving it a new three-dimensionality.
As a culmination of these interests, chromatic geometries, whose common denominator is the use of cubic volumes of wood, allow the artist to explore a wide range of formal possibilities. Thus, by introducing variations in the spatial distribution of small cubes, in their size or color, it is possible to articulate multiple dialogical relationships on the pictorial plane, turning each of these works into a unique geometric microcosm.
