Jaime Bravo early training as a "trapezista" saved his life in the bull ring many times. A native of Mexico City, Jaime seldom fought there because he was so popular in border towns like Tijuana. Bravo also had the uncanny knack of utilizing scandal to garner headlines. During an August 1968 "corrida", playing to the tourist crowds of Tijuana, Bravo "requested the animal be spared. This, in turn, was denied, and the torero [Bravo] who refused to kill the bull was escorted to the local jail and fined". Bravo received headlines for his defiance. Only one month earlier, at a July 1968
Jaime Gili the universal abstract language of the mid-20th Century into contemporary painting. More specifically, his work has been contextualised as a revision of Latin American abstraction, especially the Venezuelan optical and kinetic work of artists such as Carlos Cruz-Diez and Alejandro Otero, with an input from popular art and London's energy. Critic Fisun Guner wrote in 2003 about his show at the Jerwood Space: "What do you get when you mix Pop Art, Minimalism, Vorticism, Futurism and graffiti art? The answer may well resemble the work of (...) Jaime Gili." Venezuelan Curator Jesús Fuenmayor wrote in 2006 for the catalogue of