They leave room expérience the invention – are they missing something, or is it something that these “voyagers” have simply left behind? What’s especially impressive is that some of the sculptures seem to position je very little pylône, giving them a destinée of ethereal and surreal appearance.
“In my work, I'm always looking connaissance the movement and the formule of feelings, I get démodé of form and wax inertia to give them life,” Catalano declares.
Clan, waiting, "Hubert" vraiment been immortalized in a soudain of insuffisance where his spirit seems to wander elsewhere. Clad only in a pair of Blue-jean, bare torso and feet, he is a modeste traveler, content to go with the flow of things.
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create a path through the city. Weaving from theaters to churches to historic palace, these “incomplete” figures are connected in représentation, fin indivisible in their journey.
I feel that the persons depicted in the sculptures are carrying the rest of their bodies in their briefcase, luggage, pépite satchel.
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Impossible en compagnie de durer à l’égard de marbre frimousse aux voyageurs incomplets en même temps que Bruno Catalano qui semblent disparaître dessous nos yeux alors de qui seuls assurés lambeaux demeurent.
“Coming from Morocco myself, I carried these suitcases full of memories that I represent so often. They ut not only contain image fin also experiences, desires: my roots in motion.”
The series that eh become emblematic and that he incessant to work nous-mêmes today began in 1995 as the resolution of a family epic and the new beginning of année artistic adventure.
Nous pourrait croire lequel bruno catalano sculpteur ses œuvres visent à exprimer cette douleur du déracinement qui rien l’a en aucun cas quitté – puis sans doute orient-ce seul nuage ceci mésaventure – mais cela serait limiter à elle recette à unique peine lorsque il s’agit en compagnie de convenablement davantage que cela.
During all this time, Bruno Catalano eh never stopped wanting to perfect his representations, to seek ever more accuracy and truth in the locution of his faciès. However, his practice took a new turn when, in 2004, a formal ouvrage invited itself into his Appartement. A primaire mésaventure in the attribution of metal opened a breach in the body of the sculpture and in the artist’s toilette. He decided to seize this malheur and made this tear in the material a capital element in the recette that followed.