Bruno Roudil

I started with Indian ink drawings, some of which will illustrate the national review of SOS Friendship at the end of the 1970s. It was also the time of my first drawing exhibition in Marseille. I passed the entrance examination to the fine arts of Aix-en-Provence but I opted for a life "in the countryside" in the Gard with the manufacture of wooden objects (turned, sculpted). It was then the encounter with the earth and the modeling 25 years ago. Working with children in schools around modeling allowed me to subsequently develop original training modules for adults.

My sculpture works have been presented by several gallery partners in France and Germany. In 2000, in collaboration with the Z gallery (Aigues-mortes in the Gard), I organized an interactive exhibition "collection of imaginaries" offering the public to name the works presented and then published in a catalog with the list. titles offered by visitors. Some of the concepts that I created, such as "heads in the air" or "the guardians of the smile" (modular characters in two parts) have met with real success with the public in France and abroad.

My work :

A constantly moving creation that is changing. In sculpture today, I work in the mass to model a fictitious assembly, a tangle of materials and materials as if moved by time. An unusual, telluric composition, made up of recesses, secret gardens, which inspire a story.

Some of my characters (presented in the magazine “art dans l'air” in 2014) are only figurative in posture. “They are like entities, amalgamates of experiences and accidents of course with their fragility, their strength and their precarious balances. Sometimes small staircases invite to visit these complex and nevertheless accessible monuments which resemble us ”. This meticulous work of the ceramic which is then patinated with care evokes forms which often surprise by their consistency and their marriage.

For my small sized works they will be monochrome, I rather seek the sobriety and the mystery of forms which grab me.

Regarding my graphic compositions, I return to the charm of the black and white of my first exhibitions. I use for these compositions, a patchwork of points of view (infinitely small, diverted objects). I play with improbable forms resulting from graphics that I want each time innovative which cling and sway between mystery and poetry. The influence of surrealism from my early days often "perfumes" some of my compositions today. I am working on large format more and more and if I use color it will be sparingly.

I favor the movement that fits into a free and dynamic line, often like a wire that connects us to singular and sophisticated proposals.