Julio Bauzá

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 prolix trajectory.

On the other hand, at the base of these chromatic Geometries, Bauzá's interest for a serialism framed in the minimalist presuppositions that would have resulted in the accomplishment in previous years of works whose leit motiv was none other than marble cubes, inserted on the pictorial plane giving it a new three-dimensionality.

As a culmination of these interests, the 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 the size or chromaticity of them, it is possible to articulate multiple dialogic relations on the pictorial plane, turning each of these works into a singular geometric microcosm.

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