Clémentine Bruno’s complex praxis can be condensed into a study of painting’s presets and indexicals, working through its genres and repetitions as a means of questioning the painter as singular genius. If we liken the writer to the painter, as Bruno posits in her work, words as much as images are infinitely interchangeable to produce different narratives and visual compositions.

She has presented two solo exhibitions at Project Native Informant, Ironclad Contract, 2020 and Then We Are Both Satisfied, 2020, each exhibition held works as groupings that are suggestive of the form and grammar of language, Bruno draws attention to the constraints of painting to derive meaning in a linear sense. Throughout her practice, she mines the art historical canon, making use of both identifiable as well as obscure references, each work could be compared to a word that when seen together read as a disjointed narrative.

In 2021, she presented a solo booth, 10 to 16 at Frieze Art London. She has upcoming group presentations with Fluxus Art Project at Nicoletti, London and Tabula Rasa Gallery, Beijing.