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Sculpture became part of Bruno Schiepan's artistic journey when he discovered unused aerated concrete on a building site.
Just as he transformed Saarinen's furniture, he took these forms and put his own stamp on them and put his own stamp on them.
However, this new possibility has many constraints.
Here, there is no question of repentance as in painting: what is removed cannot be put back.
The creation of volumes also implies a three-dimensional vision: what is behind is never hidden and can be found in front...
These constraints were stimulating, and once the shapes had been created, it was all too tempting to try and do something else with them by painting them.
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", markers in a natural environment.
The play of colours is based on the play of volumes to emphasise them, break them up or create unexpected relationships between them.
One of the sculptures is phosphorescent, radiating a soft, mysterious halo at night.
In another direction, Bruno Schiepan has returned to a more figurative approach, creating smaller sculptures for indoor use.
Of course, the search for balance remains at the heart of his 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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