At the end of the nineties, Fernando Bryce (Lima, 1965) gave uppainting and devoted himself entirely to drawing. He produced a workbased on what he calls "the mimetic method of analysis," i.e., an inkcopy 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 todecisive moments and historical figures of the twentieth century, with a twofold purpose: to rescue documents and images deliberatelyforgotten by official history from the past and to anchor in thepresent events destined to be rapidly forgotten by the media structure of the people in power. He reclaims a new image by mechanicallycopying documents, statistical maps, bureaucratic reports, andpamphlets, and at the same time makes the image a new kind of writing, a graphology that discloses a network of relations of a specifichistorical case. This book contains a facsimile collection of theartist’s "Américas" seriesù including South of the Border, now in theMoMA collection––in a numbered edition of five hundred copies.
