Images reduced to their essence, without sacrificing the visual connotations that shorten distances to the viewer. Broto set his objective to be the disintegration of real things, so that any symbolic reference in his brush stroke is purely a figment of the imagination. The forms that evolve on the canvas are invocations without any relation to real objects, although the battle already is lost because the viewer’s eye looks for and always finds an imagined coherence between reality and creativity.
A restless artist from the time he was very young, in 1972 José Manuel Broto moved from his native Zaragoza to Barcelona where he participated in the activities of the Trama Group, an avant garde cultural group for whose magazine he was the editor. The only two issues that were ever published included articles by personalities as varied as Antoni Tàpies, Alberto Cardín, Javier Rubio or Federico Jiménez Losantos. The theoretical ideologies of the group were clearly influenced by those of Support-Surface and Pleynet’s theories, arriving from Paris. And that was where Broto would go in 1985.