bruno dunley
no lugar em que estamos, 2014
oil on canvas
200 x 250 cm

Bruno Dunley (b. 1984, Petrópolis, Brazil) lives and works in São Paulo. Dunley received a Bachelor's in Visual Art from Faculdade Santa Marcelina in São Paulo and Bachelor's in Photography from SENAC, São Paulo. His involvement in Grupo 2000e8 allowed for the artist to think critically about the trajectory of painting in the contemporary world. Since 2008, Dunley’s principle practice revolves around painting. His paintings begin from found images as well as from the analysis of the nature of painting, in which language codes such as gesture, plane, surface, and representation are understood as an alphabet, a common ground. Recently his practice has shifted towards gestural abstraction while still continuously representing everyday objects. Dunley states: "There is a visual variety in the most recent works. There is a fundamental change of the image function, a disbelief in a single way of representing, a disbelief in the affirmation of unity in your body of work and your identity through through a style -- a visual repetition strongly demarcated. Instead of articulating the way of doing things, kinds of visibility and a reflection on their relationships, that implies the construction of an effective, that work is supported and states.” A single color constantly predominates the entire surface of his canvases, suggesting a minimalist visual language and attributing a meditative quality to some of his paintings while revealing the lacunae in the apparent continuity of perception. Recent exhibitions include the solo shows: Ruído (Galeria Nara Roesler, São Paulo, Brazil, 2016), No lugar em que já estamos (Galeria Nara Roesler, São Paulo, Brazil, 2014); e (Centro Universitátio Maria Antonia, São Paulo, Brasil, 2013) and Bruno Dunley (11 Bis, Paris, France, 2012); as well as the group shows Os primeiros 10 anos (Instituto Tomie Ohtake, São Paulo, Brazil, 2011); Assim é se lhe parece (Paço das Artes, São Paulo, Brazil, 2011); and Paralela 2010 (Liceu de Artes e Ofícios, São Paulo, Brazil, 2010).




  • a pintura reinventada Download

    a pintura reinventada

    antonio gonçalves filho, o estado de s. paulo 23.6.2018
  • pintura é estrela em mostras nos jardins Download

    pintura é estrela em mostras nos jardins

    folha de s.paulo - guia da folha 22.6.2018

Texto Crítico

  • regarding bruno dunley's mirror's or seeking the lighthouse of the drowned

    tadeu chiarelli
    I’d like to start off this text with a fact: 34-year-old Bruno Dunley’s career as a professional painter goes back eleven years (his first solo show happened in 2007). Thus, one could argue that as he came up as an artist, the internet and its devices were already part of most people’s lives, broadening and completely changing our perception of art and reality[1] . This new scenario exponentially heightens the presence of second-generation images in our daily lives, a condition which a considerable part of global society had already been experiencing since at least the end of World War II. Throughout the 1980s, this scenario would see its first heyday, especially in art production. In that decade – that is, some 30 years ago –, some artists and critics emphasized a phenomenon which characterized much of the art of then: the “return to the museum.” They argued that art from that decade (better known as the “painting revival” years) found itself in a peculiar situation: many artists were...