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Obviously, these chairs with their exceedingly high shoulders, sometime harmonious, then grotesque (Van Gogh’s old straw chair becomes brand new, loses its own identity of handmade object, stands out and mingles between forest and labyrinth, multiplying the abstract concept enclosed within its painted frame) repeatedly portray mankind as an entity of a whole, too.
(Marcello Venturoli, Cesare Bruno’s chairs, Questarte, August-September 1979)
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