Daniel Brusatin

Rendezvous, 2022

Born in Colombia to an Italian family of agronomists and architects, Daniel Brusatin grew up very close to nature and was exposed from a very young age to the arts and design. He trained in The Academy of Fine Art in Florence with an emphasis in sculpture. His love for materials and production techniques took him to Milano to a second degree in design and applied arts. During his studies and at his arrival in London Brusatin worked for Brian Clarke where his love for stained glass, Ceramics and architectural art found mentorship.Always with a strong artistic practice his studio has moved from Florence and Milan to Paris and since 2013 is based in London.

Even though Daniel Brusatin’ work comprises diverse artistic disciplines: Sculpture, drawing, ceramics, stained glass and architecture; he has always kept painting as the central axis of his practice. it is throughout the relationship and conversation between these mediums that his work starts to shape up. Exploring visual language through semiotics, art history, traditional techniques and the act of making, Brusatin attempts to blur the arbitrary lines dividing the arts and encourages questions of fundamental phenomena as the relationship between the perpetual forces of nature and the hand of the artist, the curious case of ‘accidentality’ in a chaotically organized world and the role art plays in civilisation. 

Formally and Conceptually his work anchors the contemporary world in tradition, art history and the psychology of engagement creating a dialectic between materials and artistic expressions that serve as a catalyst to this visual poetry; based upon the idea that “beauty is not a characteristic linked to any particular thing but a state of understanding” Brusatin looks for common denominators, triggers, and expressions of primal relatability. Subjects often treated in his work are the relationship between abstract and figurative art, the conception of the work and the creation of an image in an era of careless mass-production and the importance of the artistic experience; the present and emotional engagement between the work and the viewer. 

Turning the subject matter into art itself this lines are dissolved and their effect multiplied. For Brusatin to define is to limit and a practice in constant revision and experimentation becomes the only path to evolve the artistic language