Bruno Henrique de Souza is a visual artist born in 2001 in the Tejuco neighborhood of the historic city of São João del-Rei, Minas Gerais. Developing his paintings across various supports and creative techniques, his work is marked by an engagement with themes related to Afro-Brazilian ancestry and the complexities of daily life. A recent graduate in Architecture and Urbanism from the Federal University of São João del-Rei (UFSJ), he has already participated in several solo and collective exhibitions across the states of Minas Gerais, Rio de Janeiro, and São Paulo. Additionally, he possesses experience in developing exhibition design (expography) and mounting exhibitions, broadening his impact within the artistic field.
What themes do you prefer to explore in your works?
In my research and production, I address themes that intersect the body, memory, and territory within the context of the formation of the Afro-Brazilian imaginary. Currently, through the series that make up the exhibition project "Territory: Between the Body and the Landscape," I have been incisively investigating the symbiotic relationships between subject and environment. I reflect on which spaces have been historically destined for Afro-descendant populations and the ways in which these issues reverberate in everyday experiences.
What is your creative process like?
My creative process involves several layers of thought, practice, and investigation; I consider it variable depending on the body of work I am developing at a given time. Taking my most recent exhibition, "Territory: Between the Body and the Landscape," as a reference, I see my creative process over the last two years as being divided into two main fronts: direct observation paintings (outdoors) and productions conceived in the studio.
The series "Reconfiguration of the Landscape" points toward the reconstruction of fragmented territories, addressing geographical and social divisions. This was produced entirely outside the studio. In parallel, the works in the "Sentinels" series, produced in the studio environment, stem from original photographic records. I document friends, family, and self-portraits, and later manipulate the settings during the painting process. I use elements from the "Reconfiguration of the Landscape" series as a reference, which are fractional records of the landscape in the neighborhood where I live: Tejuco, in São João del-Rei. The territorial relationships built in this peripheral context throughout my life serve as a guiding thread for my creative processes.
What materials and techniques do you use most often?
Painting has been the primary technique in my work, ranging from small-format acrylics on canvas, wood, and reused materials to the techniques and materials characteristic of muralism. In parallel, photography, audiovisual work, collage, and assemblage, among other media, compose my artistic practice.
What is the role of the artist in today's society?
I believe that the role of the artist in today's society is not limited to generating entertainment. Rather, it is to reflect on contemporary issues and take a position regarding them. Considering that various social problems do not present themselves in isolation but rather structurally, art and the artist also have the function of questioning current structures through their research and conceptions.
