Bruno Barbier is a contemporary artist, whose sculpture and (LandArt) installations are essentially minimalist. His work is often about the excavation of form within form, stripped back through reduction and simplification, reacting to the undulations, frequencies, forces and movements of the natural world.
Using sometimes geometric symmetry, repetition, polarity, the four natural elements (particularly water), his work attempts to encompass the idea of art pulsing with its surrounding environment. This is a process where bare essential form and spacial surface gives heightened clarity rather than mere visual simplicity and embraces the rhythms of the works' living and elemental surroundings.
His sculpture and natural environment installation works suggest metaphysical transcendence i.e. coming from the invisible and settling into the physical. In many cases form and material are broken down into primary composite-like layers, stratas of hidden (magnetic) forces having an influence on what we see, or think we observe.
His sculpture harnesses the reality that invisible natural forces exist all around. Physical matter, in sculptural terms, can also be receptive to these frequencies if challenged to do so, therefore, becoming aligned to the millions of natural particles of our micro/macro cosmos. Examples of this are found in his work where the use of iron filings are being drawn or controlled by hidden magnets. The resulting magnetic flux captured by filing particles dictate and control movement and form. In this way we can see polarity forces at work, showing us what predominates much of our world and how much this could impact on choice and ultimately destiny.
Outcome as a transient moving thing, is an important factor in his work and his recent research looking at (genetic) blueprinting, organic coding and dermato- glyphic reading has become a very important tool in expressing issues of identity and questions about who we think we are. Place and time, in his work, reassure us of our own existence and the works go some way in suggesting that outer forces play a part in what governs and shapes form and even perhaps the way we think. The bridges between fate and outcome, polarity as in plus and minus, visible and invisible, may seem wide but in such works, seem stronger than ever.