A meeting between a sculptor and a painter…
Alain Leneindre, wood sculptor turned interviewer of the artist, Bruno Feitussi, on his creative journey…
AL: At what age did you begin?
BF: I was ten years old and already I had copied the illustrations from my textbooks onto my wooden desk!
AL: Why on the desk?
BF: I don’t know, maybe I already wanted to share my emotions with the next student to sit at my desk…
AL: What type of student were you? The one at the back of the class?
BF: Yes, more or less, because it was more discrete to draw on the desks without the teachers realizing it!
AL: And dreaming!
BF: Yes, I could let my imagination roam beyond the windows of the class.
AL: That’s where the windows come from!
BF: Definitely. I love the symbol of the window that allows the opening in two senses; the escape towards the unknown and the invitation into my imagination…
AL: How did things evolve?
BF: I studied literature and drawing until the day when my brother’s friend suggested that I participate in a competition.
AL: What competition?
BF: It was in 1981, the Neuman Competition of Paris. I was stunned to obtain the first prize in drawing which allowed me to have my first exposition in the Saphir Gallery in the 6th arrondissement of Paris, at the same time as the painter Kleinman.
AL: And after?
BF: I continued with my studies at the graphic arts studio “Albert” in Paris. For the next several years I was a graphic designer/model maker and then artistic director of a magazine.
AL: And painting all the while?
BF: In 1992 I decided to dedicate myself, finally, to my painting! I had the opportunity to meet Guy Colomer, former student of Dali, who would make me understand the importance of honesty that one should have in dealing with one’s work.
AL: What are your influences?
BF: Dali at the beginning, of course, because Colomer knew how to transmit the ideas he had learned from his experiences as a student at Dali’s side…Then the painting of Van Gogh, he influenced me with his freedom of materials, Caillebotte with his atmosphere in “les raboteurs de parquet”, Magritte with his subjects and his syncopated and bizarre side, and finally Hector Guimard with his vegetative side.
AL: How would you summarize your path and how you are able to touch us so strongly and make us dream?
BF: I have a motto, “Painting is an art that only exists in the sharing of emotions, first with oneself, then with others…”