Repetitions, accumulations and wallpaper, in a nod to the fifties and sixties, is a form of nostalgia and decoration.
In these times, when kinetic art, so long forgotten, has been revived and even celebrated in the most prestigious places and popular galleries, Bruno Fontana’s work takes on a special meaning. Because it does not fall under any of what I’ve cited above.
This saturation of patterns using relevant findings about architectural elements speaks to us today. On penalty of blindness, which we risk at any moment, we must go to the end of this weave of images, this net of signs that seems to hide a reality we can no longer see.
Christian Caujolle
