Reviews

L’opera di Bruno Sfeir si dipana in atmosfere di armonia compositiva e tonale. I suoi colori, prevalentemente caldi e mai troppo accesi, fanno emergere racconti di spiritualità. Con essi l’artista fa un viaggio d’introspezione alla ricerca dell’Io, soffermandosi nella meditazione e ripercorrendo i ricordi o i sogni che l’hanno accompagnato da sempre. Il suo è un cammino della memoria che lo porta a rincontrare paesaggi già conosciuti e a rivedere scene immutate nel tempo e investite da una metafisica che quasi dona la serenità ricercata ed evidenziata da cromie che appaiono velate da una malinconia antica. Ammorbidite da coinvolgenti incroci di tratti di pastello, che ne smussano gli spigoli, le geometrie si sviluppano fra il reale e l’inconscio dando un senso di nostalgia e di desiderio di ritorno nei luoghi del ricordo. Nelle sue opere l’Oriente si affaccia mostrando atmosfere che ne fanno intuire i ritmi, i profumi e un profondo turbamento dell’anima. Panorami dello spirito ci conducono alla sorgente delle sensazioni dell’artista che, con la sua pittura, si avvia nei misteriosi viali e nelle strutture dei palazzi delle inconsce solitudini dove dialogano i verdi spirituali e l’ascetismo d’antichi sacerdoti. Si ritrovano le architetture, della fede immutata nel tempo, che si rigenerano in climi di profondi sentimenti e poetici ideali positivi. Gli archi del sogno si moltiplicano sino al verdeggiante paesaggio dell’arcobaleno di speranza che illumina il dischiudersi del rosseggiante bozzolo di madre senza volto e senza tempo, ma con tutto il mistero del suo essere donna. Le ombre si fanno più intense e le prigioni dell’essere innalzano mura che interrompono la visuale di nuovi orizzonti chiusi in un abbraccio e in una culla che attende d’essere occupata. Al di là l’idea di un viaggio mostra nello sfondo un piccolo rifugio diventato approdo del cammino interiore che porta ai riflessi dell’inverno.

Supportando il suo stato emozionale con una profonda riflessione sulle esperienze di vita, l’artista dipinge i momenti della sua interiorità esaltando le forme e gli spazi con le cromie del ricordo e rendendo i paesaggi con opere che ci conducono, metaforicamente, a paesi di grande fascino e significato.

Federica Murgia

Ottobre 2015



Universe in the State of Alpha

JACOB KLINTOWITZ

For a moment we find ourselves struggling to separate that which forms woman and that which shapes the landscape’s spheres. Worlds upon worlds make this a mythical scene devoid of conventionality.

Here and there, once the scene is absorbed, the breasts and face reveal a woman. But what kind of woman is this, shaped from the stars?

This painting, by Bruno Sfeir, is characterised by its high precision. The images are highlighted with clarity by his determined design; delicate chromatics unite the subjects within a bustling rectangle in which we can see a work of extraordinary certainty.

This scientific approach to his work is precisely what accentuates the originality of the images created , his uniqueness and the perpetual sense of the unknown.

A glimpse of a peculiar iconography that doesn’t fail to surprise as it is revealed time and again.

It is possible that this woman is made from more than just the star-dust of dreams.

The paintings of Sfeir alter the limits of conventional understanding and in them we live in the chimera, in the innovative poetics that interweave logic with new connections.

Landscapes, objects and beings make unexpected combinations. For Bruno Sfeir, these are intriguing  and show something new of himself.

Landscapes, mythical scenes, imaginary scenes, immemorial fragments of abrupt lights. Perhaps a self-portrait of the artist himself when he was still young…

Instigators for the artist himself?

In this case, that he is the first eyewitness.

There is a distinct distance between the artist in the creative act and the contemplative artist.

The observation of the work requires wit and detachment from it, an ability to remove parts of the artist’s own language.

The beholder is similar but at the same time different from the painter. When creating, the artist awakens, becomes more integrated and receptive.

From the obvious biographical experience of our time comes the easy conclusion that the artist is superior to man.
Bruno Sfeir is moved by discoveries. This is what motivates him. His art brings awareness, promotes the existence, organizes correctly and makes visible what was before only sensed.
In this case, intuition is so present, that it presides over the movement, directs the painter in his ongoing effort, bringing forth that which is hidden within himself.

It is the reason for Sfeir’s intense pictorial production, this succession of images and particular scenes.
And intuition dominates the invention of his paintings in such a way as to be thier own fuel.
The reality of art is inferior when compared with intuition and is an effort to make these two acts in the world, the concrete appearance and the prescient insight of the form, identical to the fundamental stimulus of Bruno Sfeir and of all true artists.
Sfeir makes it visible but not intelligible.

It is, without question, an account of the dawn of the spirit.
Do not imagine that the process of this artist is simple image association, far from it. It is a process of cultivated elaboration and introspection.
Before us is not an automatic script or a significant image association, but rather a method of creation in which the artist removes the obstacles obscuring its perception and connects with the immediacy of the images, while maintaining control over their activity.
The discourse is that difficult cohabitation between availability and garnered knowledge: one of the virtues of the artist.
It is evident that Bruno Sfeir’s painting is infused with surrealism. But, while a strong manifestation of the subconscious pulls his work towards this movement, there is another that escapes it, as his approach is personal and distinct.

In general it is but a meeting of irrational vertices. In particular, a unique iconography, the construction of a group of personal images.

Finally, after the establishment of profound psychology as daily fact, standardization of concepts of the individual subconscious, collective subconscious, archetypes of the comparative history of religions, of mythology as a way of consciousness; practically all art forms use, in their creation, matter originating in the subconscious and in civilizations past.
Victoriously, Surrealism dissolves in the body of culture.
Bruno Sfeir’s true artistic family is that of the official travelling artists.
Respectable are those who, before the innovation of instant photography, accompanied scientific expeditions recording flora, fauna and social life.
This art developed into records to leave a formidable collection for humanity. Some prominent examples are; Thomas Ender, Johan Moritz Rugendas, Albert Eckhout and Henry Chamberlain, among many.
But, I have always considered the independent recording Oceania, by Paul Gauguin, to be the most emotional. And above all, the recordings by Leonardo da Vinci of the research his own curiosity would establish.
It is from this source that a new family of artists emerge, travellers who determine their own area of investigation.

What of art will now be the new emerging focus of our times if not the living perception of capturing and recording a lasting image, and the expansion of the limits which surround our concept of reality.
The journey is within oneself. Art is a journal of the most formidable entries, the discovery of oneself.
Adjoin high and low, heaven and earth; God and man.
The artist is his own subject of investigation. To paint is, in this particular instance, to limit the universe within a determined space. The world is a rectangle.

There is a place beyond our comprehension, where lies our true knowledge and from which one can contemplate the universe as a whole.

This is somehow the true function of art. Along with and beyond the chronicles that are our daily lives.

The universe in the state of Alpha.

Bruno Sfeir feels he has a melody, a melody that at times discloses a chord or two. This is his music and one which he will always be in search of.

This highly personal repertoire can be found in all of us, at least in part. It is what permits  recognition.
And if that music were entirely unknown, it would be so forever.

Bruno Sfeir at UNESCO in Paris; an exceptional artist.

Within the framework of the International Year for the Rapprochement of Cultures proclaimed by UNESCO for 2010, delegations from Lebanon and Uruguay at UNESCO have organized an exceptional exhibition, topic “Subjectivity and Certainty” by the international Lebanese-Uruguayan artist Bruno Sfeir.

In the presence of many official personalities like the UNESCO General Conference’s President Mr. Davidson Hepburn, the Lebanese Ambassador for UNESCO Mrs Sylvie Fadlallah, the Uruguayan delegate for business Mr. Santiago Wins, Bruno Sfeir exhibited 12 nameless canvas for the viewers to do a personal and free artistic journey.

Bruno Sfeir has an incredible capacity to reconcile reason, emotion and intuition. Even being very rigorous he preserves and pursuits the source and the purpose of his inner pursuit.

Concerning the external, his painting is abstract and almost geometrical but it introduces the viewer into his inner universe.

His work of art is a true invitation to travel, an inexorable entrance through a prism, a labyrinth of symbols and clues that brings things together in perfect harmony. The artist guides us through a path where we cannot get lost and at the same time he leads us into the

depth of his different level perspectives. He leaves at the viewer’s disposal the openings and closures proposed through the symbols of love, death, resurrection, take root and spirituality.

His metamorphosis and metaphors are neither distressing nor arbitrary as they show the complexity of life and they do not imply a rupture or a breakdown but a serene disposition.

It is almost natural to go from one space to another without getting lost.

In his painting we can find a playful aspect that gives liveliness and a constructed aspect that provides reassurance. At the same time as it gives a good account of the geometrical intersection of rationality (space / time) it is combined with reliefs  which illuminate and guide.

Finally, the adjustments of shapes and colours work by themselves as his universe has essential values of elevation, freedom and transcendence.

Bruno’s painting reminds us in some aspects about those of the great master Rene Magritte but it follows totally different purposes.  We can often find in both paintings the same symbols: the bird, the key, the cup… Whereas these objects appear in Magritte’s painting (in his own words) in a willful and risky way in Sfeir’s painting they acquire (on purpose) other gravity or seriousness. His painting is surrealist and spiritual at the same time. This is the reason of his singularity and originality.

Bruno Sfeir joins modernity with the imperative of the sense; it is a powerful example of dialogue between cultures with an abstract occidental technique and an inner baroque Latin American pursuit or oriental mysticism. In his own words, his painting is the one of the “investigator”, “friend”, “pilgrim”, that of the “presence”, “wisdom”, “peace” and “light”.

Sfeir’s painting is very well achieved and it conveys inner worlds that come up as a large number of clues, alternatives, choices. His painting is not immediate, demanding or dogmatic because while it is

disciplined  it suggests several levels of significance, several understanding of the work that the viewer has to explore herself / himself. His great originality consists in bringing together or joining discovery and familiarity.

Bruno Sfeir is proud of his Lebanese roots as well as his Uruguayan belonging and his international opening. His work illustrates in a brilliant way the approach of cultures. His exhibition at UNESCO in Paris has been a real triumph which deserves to be shared among everyone who associates the cedars’ homeland with creativity, innovation, intellectual and conceptual rigor and spirituality.

Bahat  Rizk.

Bruno a unesco

La visión de un hombre libre
Año 2000-Crítica de arte en Uruguay.
La generosidad del artista
Diario Opción veintiuno. Año  2000