"This artist creates some of the most amazing unique paintings that I have seen in decades. His work is generally made large using his special mix of medium and sand. Bruno is a professor of art and his thinking about his work reflects quite an academic explanation (see below). However, as a painter myself I can only relate my own thoughts in perhaps more simply way. The work he creates is created with dedicated observation married with an aesthetic that one can only admire despite what the subject matter actually is. That subject is human skin, shown in brutal reality. Throughout art history painters have painted images that under normal circumstances most twenty first century people would abhor, should that be witnessed in a real life situation. Many painting record the destruction of human life on a industrial scale (Guernika for example - 1937). And yet these are valuable, they record and often narrate the human condition in all its glory and horror. That's why we have to look at these works of art as long as they show an exact skill of application and an original inspired hand to make them. Bruno Dufour-Coppolani is such an artist. "
Denis Taylor Artist and WriterWhen painters TUBES magazine first encountered the work of Bruno he had completed a huge bank of work entitled "Apprehension of the Skin" (see following page). It was this work that was so stunning TUBES made a point of featuring the artist in the magazine, and also in the painters TUBES gallery. The size and the quality of the artists work seemed to us a landmark in modern Art.
Below Bruno states his belief and values of art in the introduction he wrote for painters TUBES for the Apprehension series.
" I believe that correspondingly the spectator acknowledges the validity of the question contained within the work. It is likely that this adhesion, albeit uncertain, unfolds in a community of recognition that is as vast as the question is universal. I also believe that art is compelling because of this flow of acknowledgements: Acknowledgement because of what he does; Acknowledgement by the other because of what he sees; Acknowledgement of the question by all. I do not believe therefore that art can be pronounced upon, not even by manifests or any other self-certification and particularly when these inhibit discovery.
Therefore, paintings are encounter
