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Bruno, entering the forest of everyday “signals”, which seems to close upon us with ever increasing strenght, deliberately chooses for accurate trading, thus turning daily symbolisms and mythologies into mere absurdities. Absurdities that become a decaying fetish of our own presence in the bitter citylife desert. Therefore, a “domestic” object universally known, as the chair, a simple accessory in everybody’s life, stands out because of the intensive relationship as trait-d’union between indifference and affection, undisputable result of human perception. A whole bunch of chairs, red, blue, grey and black, revolve in the world of dismayed and sullen daylife, better known as the System. Such form of metaphorical expression is more than just another of Bruno’s “tricks” to transfer an interpretation of reality (the chair) into a “talking” object, emblematic of our frenetic age. It is also meant to embellish the painted image with malice, irony, and that underlaying piercing tone which are the main prerogatives of his art.
(Marisa Vescovo, Like in a migration, Sala Comunale d’Arte Contemporanea, Alessandria, 3-20 January 1976)
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