In this project, Los Bravú propose to reflect on their own artistic methodology. They shed light on the complexities involved in the process, first of dilution, and then of fusion, through which their individualities give rise to their peculiar identity as an artistic duo. For them it is a matter of generating a constant dialogue between shared obsessions. This is reflected in the work through an anxious accumulation of elements within the pictorial framework, a volatile narrative full of complex twists and turns and a taste for the saturation of nuances in the reading or meaning of the work. To this is added an eclectic and unprejudiced appropriation of diverse pictorial styles in the same scene.

The core of the duo's aesthetic thinking lies in their taste for the tension between opposing concepts such as high and low culture, academic art and avant-garde art. Their insistent attention is also drawn to the socio-cultural peripheries, especially to the forms of cultural expression that are often marginalized from the canon of contemporary art. For this reason, they devote great interest to the research (extended to fields such as literature, music, mysticism and anthropology) of the patrimonial elements of the collective imaginary alive today in Galicia and Asturias, territories of northwestern Spain where both artists were born. Referred to as "the lands of the end of the world", these regions have historically been considered peripheral, both within the Spanish and European context. As a consequence, they have shaped their own cultural identity, nurtured by popular traditions, the vital isolation of their individuals and the magical thinking rooted in their peculiar natural landscapes.

For this project, conceived as a single great story, the Bravú present us with a series of paintings: scenes, reveries, phantasmagorias in which chaos, fragmentary, ruin and melancholy prevail. With great naturalness they appropriate the fundamental keys of Italian metaphysical painting and surrealism to generate dense, complex and oversaturated atmospheres. They intermingle it with codes typical of academic painting, baroque, mannerism and, especially, of a certain primitive classicism, whose main echoes can only be heard in the mural paintings in Pompeii that have managed to survive the eruption of Vesuvius or the portraits of mummies in El Fayum. Within the palimpsest of references assembled by them, certain pictorial codes typical of urban art, graffiti and tattoos alike, also stand out. It is a phantasmagoria where the grotesque and the decadence of contemporary life contaminate the beautiful and the transcendent, make their way and reaffirm their place in the collective imaginary of the future.

-Luis Sicre