SURDOCAT2026 - Flipbook - Page 3
deepening of that relationship. Bruno is one of those rare painters
quieter,
moresits
intimate
moments,
and
then into
allegory
and myth, all
whose work
comfortably
in two
worlds
at once.
His foundation
is without losing a sense of continuity. In
paintings
like Old
Crossroads
Time through
and Thethe
Union
of system,
Differentwith
Skies,
rooted in the
Masters, of
trained
atelier
a Bruno builds these crowded, almost
cinematic
spaces, scenes
that feel
familiarand
but heightened.
They
like stages where people intersect,
real commitment
to drawing,
anatomy,
the discipline
of operate
oil
disconnect,
perform.
There is about
a clearnow.
nodThere
to theis scale
and ambition of Renaissance and
painting, butobserve,
what he and
paints
is unmistakably
a
Baroque
painting, but the experience is very much rooted in contemporary life, where closeness and isolation
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often
exist side by side.
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At the same time, I feel a more personal thread running through the show. Works like Daydreamer, Dreams
of Hope, and Guardian slow things down. They focus on the body, on gesture, on small emotional shifts that
feel immediate and human. Then you have paintings like Martyrdom of Freedom and Venus of America,
where the tone sharpens and the imagery becomes more confrontational. Bruno does not seek easy
answers, these works sit in that space where beauty, tension, and discomfort all coexist.
The mythological pieces, Ganymede9s Seduction, The Harpies, and The Riddle, are another important layer.
They pull from classical sources, without feeling historical. Instead, they read as psychological, almost like
internal narratives taking form. Bruno has always been interested in that space where myth, memory, and
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