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SCULPTURES

Bruno Schiepan approaches sculpture like anything else.

This practice arrived in his artistic career almost by chance.

It was in fact when he discovered unused materials, cellular concrete, on the construction site of his new house that he wanted to try to do something with them...

This happy coincidence is in the continuity of those who determine his job has always been.

As he has been transforming Saarinen's furniture from an immaculate white for more than fifty years, he has taken hold of these shapes to leave his mark on them.

Here it is not only a question of intervening on given forms (the frame of the painting, the surface of Saarinen's furniture) but, first of all, of creating these forms.

From then on everything becomes possible.

However, this new possibility has many constraints of its own. Here, there is no question of repentance as in painting: what is removed cannot be put back: it is better to have an idea of what you want to achieve. The creation of volumes also leads to a three-dimensional vision: what behind is never hidden and can be found in front... These constraints were stimulating for Bruno Schiepan who saw them as a chance to discover new frontiers... Once the forms were created, it was too tempting to try to do something else with them by painting them because, for Bruno Schiepan, sculpture is certainly volume but it is also surface.

For the exterior, his first desires led him to create what he called “beacons” which are like landmarks in a natural environment. Here, color plays an essential and inseparable role in the work created. The play of colors is based on the play of volumes to underline them, break them up or create unexpected relationships between them.

Painting encourages experimentation. One of the sculptures is phosphorescent and radiates a soft mysterious halo at night.

Another direction brought him back to a more figurative approach and Bruno Schiepan thus produced smaller sculptures intended for interiors.

Sculpture is a pretext to play on an infinity of shapes and colors where abstraction and figuration can be combined.

The search for balance remains of course at the heart of this work.

Bruno SCHIEPAN likes to exploit the plastic advantages of volume.

The almost simultaneous look that can be cast on a four-sided object is for him a pretext to play on an infinity of forms where abstraction and figuration can be combined. 

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