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Bruno Schiepan's work is unlike any other.

Pop, Art Deco influences, geometric and kinetic abstraction, paintings, re-visited design objects, a collaboration with the Knoll house, furniture editor, sculptures, mobiles, he touches on everything.

What drives it? The colors that resonate in him like vibrations. What is he looking for? Balance, an exaltation of beauty that creates a sensitive connection between the public, his work and him.

“I am happy with your painting”… This word written by Guillaume Apollinaire for Fernand Léger remains for Bruno Schiepan one of the most beautiful compliments that one can receive…

Bruno Schiepan's works are works that take possession of space. Of all space. The floor, the wall, the ceiling. If the artist has freed himself from the canvas by creating his own space and his own supports, it is to let his emotions express themselves freely. Emotion, sensitivity, is what has always guided his work. Tempted by the pictorial experience, after studying political science and a career as a producer, painting came to him like a revelation. Painting is magical, sensual for him. From these extraordinary moments, he wants to make his daily life. Hit by painting, he abandons everything and gives himself the means to live his life as an artist. He is involved in precise and meticulous work. Giving beauty, giving happiness, cannot be improvised, because the ambition is there: “to produce beauty before the signifier” (even if he hopes “that beauty is also significant”). On the sidelines of “certain players in the art market who want us to believe that understanding is more important than loving”.

Bruno Schiepan focuses on the sensitive and seeks, through this quest for beauty, to create a strong bond with the public. This link lives through compositions, shapes, colors that have the gift of absorbing us. From then on, a triangular relationship is established between the artist, the work and the public, all three united by the same aspiration for harmony and balance.

It is the desire for emotions that leads him to accept the collaboration with the Knoll house.

Exalted by the possibility of getting out of the frame of the canvas, he revisits the famous Tulip chair - designed by Eero Saarinen in 1956 - in his own universe, imbued with moving and colorful shapes.

This off-canvas experience will be decisive for him: from there, he explores new supports, specific to his singular creativity, which lead him to consider space in a new way.

His painting will be strongly influenced by it, this is how he will design cut-out paintings but also works on mirror or even backlit, with the ambition of getting out of the frame.

The mobiles he creates share the same ambition, the search for balance being at the heart of his work.

Naturally abstract, his approach could be described as “abstractive”. This neologism that he would like to have created, expresses the idea that abstraction, beyond a representation, can be a quest: to abstract oneself...

The colors would then be the letters, and the shapes the grammar of this other language...

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