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The work of Bruno Drolshagen is based on painting and, in a way, its production binds to a new figuration developed by various names throughout Brazil, with very different approaches and investigations. In a critical assessment by Fernando Cocchiarale, "far from being an ism, based on plastic-formal ideas shared by its members, primarily reflecting the efforts to sign painting in the same iconic area in which today photography, video, and image editing and manipulation reign supreme". Not to rule out the multiple and fragmented influences of these new media, but also attending and exploring the specifics that can be generated by the pictorial, Drolshagen’s work is configured as not conformed in a scenario often too multifaceted. "I believe the change helps create new problems, get to places that remain fresh in some way," he says.