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Fraudulent misuse of credit cards

This solo exhibition is the first time Cesar Baracca's mosaics have been shown together and provides a rare opportunity to explore this idiosyncratic collection.
Baracca offers an exciting explosion of strictly controlled but aesthetically disciplined chaos. Colours, shapes, reflections and meaning emerges from this rhythmic succession of isolated but recognisable symbols (VISA, bank logos, fragments of names in silver letters) are interspersed across the bright, reflective surfaces. The viewer initially puzzled, eventually discovers the real nature of the work.

The compositions are not limited to a horizontal and vertical format, they expand the powerful plastic medium, taking it around corners, giving depth and substance to the shimmering illusion. The cards themselves, unworthy of being recycled, still maintain their iconic properties and assume, through Baracca's artistic manipulation, a surplus value which becomes the object of our passion to all things consumerist.

Although the variegated geometric designs are capable of extension in any direction without producing imbalance - a true sign of the innate plasticity of the material, the artist's decision to be restrained by a claustrophobic 20.5 x 20.5cm square is clear. The only liberty that Baracca allows himself is to extend the composition from the two-dimension limits into the third dimension, transforming the square canvas into a cubic sculpture. This three-dimensional object thus exposes itself to more complex and multi-directional observations. Reflecting light and mirroring effects give infinite variety to the visual experience, providing opportunities of many faceted meanings.

As Baracca declares paradoxically 'English collectors mainly pay in cash.' The only reason for this atypical English insistence on buying art in cash from the Argentinean artist is surely due to the fact that on the evidence before us, they are often drawn by the originality of the artistic cause- so they 'donate' their credit cards for the benefit of the artist's sadistic pleasure!

Baracca's work has evident and strong similarities with the classic mosaic process, but the basic concept is different. Roman and Mediaeval artists started from basic pure colour of tiny tesserae arranged and combined to produce a realistic decorative 'image in stone.' His process is diametrically opposite, he starts from an 'image in plastic' and through fragmentation and re-composition using abstract patterns he achieves an intensity of purest colours.

The outcome is an intimate visual experience which simultaneously seems to make a monumental statement. We see a compelling, lively finish which, through the play of light on angled pieces of the plastic form a series of symbols arranged together in bold and fearless connection intrinsically organised to emphasise the strength of the material. An 'icon-plastic' that is a truly abstract representation of our consumerist needs and also individualist identity.

It's not surprising that Baracca's first exhibition in London was at the National Portrait Gallery. What could be more personal and self-representative than a credit card?!.



By Giuseppe Urso
London 2005

Untitled

2006
20 x 20 x 3,5 cm

MACRO

2006

Untitled

2006
20 x 20 x 3.5 cm.

Untitled

2006
20 x 20 x 3.5 cm.

Untitled

2006
20 x 20 x 3.5 cm.

Untitled

2006
20 x 20 x 3.5 cm.