“Waiting for Bruno” From the first highly graphic spaces to the latest overproduced volumes, spaces, Bruno Peinado’s practice is wholly contained within the light, clear line that runs through all his work, like the great outline of the world that he tries to get a purchase on his sharp, bright pieces. He cuts out, draws and projects icons that seem to have come straight out of a badge, suddenly and frighteningly insisting on what up to now belonged in the realm of the accessory. For Peinado’s arrangements are far from inoffensive: by a logic of graphic crossbreeding, he demonstrates the possible existence of a society where symbolic worlds cross over, where identities are hybridised, all of which […]
“Waiting for Bruno”
From the first highly graphic spaces to the latest overproduced volumes, spaces, Bruno Peinado’s practice is wholly contained within the light, clear line that runs through all his work, like the great outline of the world that he tries to get a purchase on his sharp, bright pieces. He cuts out, draws and projects icons that seem to have come straight out of a badge, suddenly and frighteningly insisting on what up to now belonged in the realm of the accessory. For Peinado’s arrangements are far from inoffensive: by a logic of graphic crossbreeding, he demonstrates the possible existence of a society where symbolic worlds cross over, where identities are hybridised, all of which is made desirable by the aggressively seductive look of these forms plucked from some imaginary and particularly well stocked drugstore. But these forms are prickly, have monochrome highlights, dazzle or turn their backs on the viewer. Friends of Bruno Peinado know that the work is no doubt made in the image of the man, whose motto could be borrowed from the late Pierre Desproges: “You can laugh at everything, but not with everyone.”
Dorothée Dupuis
Excerpt from “Text(e)s”, éditions Loevenbruck, Paris, 2009