Guillaume Bruère’s work immediately evokes a reaction on both a personal and historical scale: his abstract and colorful portraits explore one’s psychological essence while reflecting on the historical context of portraiture. Bruère is known for depicting others—visitors to his openings, refugees, and reinterpretations of the masters’ portraits—but his most recent exhibit finally reveals how Bruère depicts himself. Celebrated swiss auctioneer and art dealer Simon de Pury has organized an online exhibition of the French artist’s never-before-seen self-portraits from October 3rd until November 6th 2022. Featuring more than 26 works on display, ranging from paintings, sketches, and sculptures, every work in De Pury’s exhibition is for sale and the exhibition can be viewed online at https://www.de-pury.com/presents/guillaume-bruere.
I had the pleasure of speaking with Bruère about his process—something that I can best describe as involving a transfer of energy. Bruère’s self-portraits are not planned, but rather the work is informed by the moment and his mood. This process allows for a deep understanding of self; and the abstract figurative nature of his work is dynamic, evoking emotions and an intimate experience.
T: I know you cite Rembrandt as an influence and are quite inspired by the portraits of the masters, but they are in such a different style to your portraits. Is there anyone who inspires their childish quality? When I first saw one of your portraits, I immediately was reminded of Basquiat.
G: I should have painted or drawn from Basquiat. Until today, Tatiana, I did not. And that is a very good idea... it should suit very well. We belong to the same family.
T: When you say you belong to the same family—are you referencing the fact that you both work from impulse?
G: Yes.
T: At the Nahmad Gallery in London, the night of your show’s opening in 2019, you drew a woman at the gallery live. When a person sits down for their portrait, what energy are you tapping into? Are you looking at the way you believe they see themselves or the way you see them?
G: I look for their color. To make it brief, I think each person has a color. And making a portrait is to come as close as possible to showing their color. A person’s color is similar to a person’s soul; their spirit. It is a deep meaning… The colors are a link maybe between me and God.
T: De-Kooning did a few works with his eyes closed to tap into this energy. There’s this idea of how when an artist’s eyes are closed, they see moving traces of colors; and when they open their eyes, those traces disappear. Do you ever close your eyes when you draw or paint in an effort to develop something on paper that is a more accurate representation of what you are seeing in your mind?
That is a really good question. When I am drawing I am so concentrated I do not feel like it makes a distinction if my eyes are open or not. I have an awareness so it goes far beyond if my eyes are open or not. I am being guided by something else other than eyes. I wouldn’t introduce myself as a shaman because that is too much, but maybe I have something from a shaman when drawing. I don’t want to make it too religious. It is difficult to explain what happens at this moment and you can make your own interpretation of that moment.
T: I am aware that part of your process is going to museums, getting inspired there, and then beginning to paint in the museum. When you go to a museum and you see a classical work, do you always get a feeling that allows you to create or do you sometimes look at a painting in a museum and not feel anything and therefore not create anything.
G: Again, a good question. If a museum is open to me, I like to move freely through the museum. I stop where I feel more attracted. It is like an animal looking for some food or a place to sleep. I like very much the sentence of a French philosopher Gilles Deleuze. He was observing animals and how it is for an animal to look for the place where the animal will die because it feels the death is coming. It is something really strong. It is important the place where you paint or place where you draw. It maybe has to be a ritual place. The work calls me so I go there.
T: Can you elaborate more on your relationship with the masters?
When I was a really young artist, I was so impressed by them; but now I am grateful to them because they give me the power to continue my way. A lot of colleagues forget about art history and forget to look at what has been done in the past. I do not want to be afraid of the big masters from the past. I need to work from Picasso and so I go and visit him. It is more of an inner dialogue so I need to speak with him through drawing or painting from him. That is something important. I don’t want to feel any frontier. I don’t want to feel a wall.
T: How long does it take you to draw a piece? I know sometimes, such as in the case with the Nahmad show opening, it is more immediate. But do you ever take a long time with a piece and come back to it?
There is a distinction between drawing or painting. Drawing in my case would mean I do something, and I never make any corrections. A painting for me should be an addition of several sessions. When I draw, it is really fast. I need to draw. But my energy in one day is different the next day. My painting on the second day will be completely transformed. I am not able to follow a plan or to follow a sketch for three days long. Each day my energy is completely different. Day after day I can destroy my painting. I try to destroy the intention of a painting. I don’t like that a painting delivers something narrative. I hope my painting does not tell a narrative. The work needs a strong autonomy and live outside of my life like a human being. I dream that the people feel completely free in front of my works. I hope they have a lot of space to judge it and to feel really free to find some references or not to bring what they want to.
T: The music you listen to when you paint, does it sometimes affect your work? Or does it just enhance the experience?
Music plays a very important role. By traveling I always had to prepare my music like my pens or colors, it was very important. I listen to Eminem many years long and then I had a transition to Bach, I had a period with Mozart. It is more like the one I am listening to many years long, and then changing slowly. I still continue sometimes, but I am more moved by classical music for now. The repetition of the music brings me into a mood. I am not a musician but I know each note when I am listening. I remember each note even if I don’t play an instrument.
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