At the end of the nineties, Fernando Bryce (Lima, 1965) gave up painting and devoted himself entirely to drawing. He produced a work based on what he calls the mimetic method of analysis, i.e., an ink copy of a series of photographs, newspaper cuttings, advertisements, promotional publicity, and popular propaganda, among other documents, taken from archives and libraries. At first his intention was to do an exercise on the history of power and the images of his own country, Peru, but his documentary archaeological research soon extended to decisive moments and historical figures of the twentieth century, with a twofold purpose: to rescue documents and images deliberately forgotten by official history from the past and to anchor in the present events destined to be rapidly forgotten by the media structure of the people in power. He reclaims a new image by mechanically copying documents, statistical maps, bureaucratic reports, and pamphlets, and at the same time makes the image a new kind of writing, a graphology that discloses a network of relations of a specific historical case. This book contains a facsimile collection of the artists Américas series including South of the Border, now in the MoMA collectionin a numbered edition of five hundred copies.
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