Bruno Daniele was born at Alba, Italy, in 1948.
He gets his diploma in advertising graphics in Turin and he follows nude courses at Pippo Bercetti’s studio. After that, for his engraver activity, he attends the Chalcography School at the Accademia Raffaello in Urbino. After his figurative works of the beginning (1960s/70s), part of a socially and ecologically committed painting, where the figures of social outcasts became the protagonists, Daniele in the early 1980s chooses an informal matter painting. He follows a research path (Exhaust Lands) which, under the influence of Burri and his fellow-citizen Gallizio, makes him use the most different materials, such as jute, cardboard, tar, polystyrene, oxides, epoxidic resins.
The beginning of the 1990s coincides with the painter’s full maturity.
Daniele is essentially a restless artist: he enjoys researching and he is really motivated by his need of experimenting. He thinks his artistic cycle from 1980 to the early 90s is over by now. He doesn’t refuse matter for sure but his operating ways have changed. He doesn’t use any more cardboard, jute and polystyrene collages, which he thinks are rather limiting his gestures. He operates in a less craftsman-like way.
His works always start from a project, but he leaves more room to action. He starts a new trend called “Matter movements”, where he also experiments using round shapes and triptychs. In fact the matter movements, the strongly gestural painting, the colour desecrated by black slashes, and yet exalted by little hope openings, represented by the cracks, by the white spaces, are the characteristics of this artist’s works.
The press has often examined his works as several personal exhibitions have been organized both in Italy and abroad. Works of his are part of various public and private arts collections in Turin, Milan, Genoa, Bologna, Rome, Paris, Munich, Melbourne, Boblingen, Nuremberg, etc.
The following people have written about him:
A. Allamandola – M. Berra – C. Bianco – A. Bottini – L. Carluccio – H. D’Ambrosio –
C. Ferraresi – A. Fornara – E. Fronzheim – A. Galvano – G. Gatti – G. Giugiaro – G. Gramaglia –
P. Levi – G. Masoero – G. Milano – A. Mistrangelo – C. Morra – A. Oberti – F. Piccinelli –
T. Polastro – F. Poli – W. Rebmann – T. Schweiker – S. Taricco – S. Torti, etc.
“The meeting with Bruno Daniele was held remembering a common friend, Pippo Bercetti, who was his teacher and whose memory both as a man and as an artist naturally causes emotion and regret in the people who knew and associated with him often. Maybe that teaching stimulated in Daniele that restless tendency, which is a feature of his art, to match the interest for the ideological and emotional contents of the painting with his passion for the matter, which is thick, operated, carved and scratched, felt almost as if it where an end in itself, as if it where the essence of the pictorial event ... “
Catalogue introduction, Galleria Studio Arte 56, Alba - 1987
“Clearly, in this painter there is an autobiographical feeling: however, this is not a sort of personal writing, but it is rather an inner atmosphere. In his way of working there is in fact a definite mood, a need of deeply examining his own reality that still appears unknown. His choice of expressing himself is in fact to bring shapeless shapes to the surface of the canvas. He is for sure a messenger of a completely interiorized total lack of visionary elements in informal painting. The title of his exhibition is “Exhausted Lands”. In this appealing suggestion one can perceive the artistic path from which a dense, carved and scratched matter emerges. The autobiographical trait is then the inner fear, which is non ecological, but cosmic. Bruno Daniele allows himself to be interpreted according to this clue or to other ones, letting the visitor follow his own “paths, graffiti-like furrows”.
La Repubblica, Jan. 18, 1992
Planets, worlds, deep brushstrokes carve, with a sculptor’s strength, powerful colours contrasted with black, which makes them spin around without leaving a reference point. The ensemble, if you look at it from a distance, reminds you of Velazquez and of great Spanish painters. Rings carrying you to far-away worlds, planets of imagination, of emotions. You need a “Telescope” to find out the depth of these emotions.
Presentation in catalogue, Porta Rose Gallery, Garessio 1998
The website will be permanently closed shortly, so please retrieve any content you wish to save.