To define Bruno Grizzo into a definitive role, such as a fashion illustrator, or even an illustrator would quite honestly be unjust for his unbounded creativity that not only stays in the confines of his personal etchings but brought to life in macro-moment animation videos on social media – his work is accessible from anywhere in the world in an insta-second, a courageous trait for an artist.
I met Bruno on a warm New York summer in September 2015 amidst the scurry of New York Fashion Week Spring/Summer ’17. It was at his studio in Union Square, where drawings of an eclectic nature were nonchalantly stuck on his wall. This day left me in a lasting daze of daydream. I kept that illuminating pocket of inspiration for a rainy day, and today doesn’t seem more fitting. Precisely one year later, I am bestowed with the power of the pen to write about Bruno himself. A connoisseur of his own craft and a creator of his own vision to which may we leave undefined.
What is your current art aesthetic and/or choice of medium?
Its a mix really, I’ve been doing a lot of animation work lately so that requires working digitally most of the time. But I’m still doing a lot of collages, painting and ceramics which keeps me grounded somehow.
How was your art evolved since the day of fashion illustration?
Its been slow but steady, I like to experiment and explore different outlets. I was always anti-technology, afraid of it actually but then I took an animation class, some photography courses and I’ve embraced it. I’m quite excited about it now, and started to play with Virtual Reality as well.
An installation pop up in Japan on Valentines Day for @estnation_jp
How does a multi media artist such as yourself measure success?
I’d love to say that if I’m happy doing it its already a success, but I’m still dependent on the acceptance and enthusiasm of my peers. Maybe that is ok.
Bruno quotes one of his favourite projects as a fashion editorial with Surface Magazine inspired by hiroshige prints. He described the creative process as firstly printing the photos followed by styling them into a collage art, finally re-shooting them as still life photography. Bruno mentions he created these innovative pieces alongside Matthias Ernstberger @matthiasernstberger, former Creative Director of Surface Magazine.
Has ‘Insta-Art’ narrowed or enhanced a consumers journey to art?
I think it has enhanced it, if we consider being exposed to a lot of it as a good thing. I think its dangerous to equal “followers” with quality, but this whole thing is so new still that with time, quality will stand out. It already is I think.
What kind of posts on your Instagram gets the most likes?
My animations, and my rare selfies, but people are mostly kind.
Bruno’s interpretation of a #Selfie.
Tell us more about the current projects you are working on?
I’ve been doing a few animations for DFS and TGalleria for their new stores in Angkor, Macau and most recently Venice, Italy. Thats been so rewarding not only creatively but also as a collaborative work with them. I have many projects with Japan coming up, I’ll be setting up a studio in Tokyo for a couple of months.
I also have a few projects with still life photography mixing illustration with products such as jewellery, beauty, fragrance and also objets d’art. It has become my thing! Collaborations with InStyle, L’Officiel Japan, and Town&Country magazine. I’m also preparing to do an exhibition in New York in the Fall, and a ceramic show in Japan, and my first music video, all animated for Vox Pop, my friend Jamie’s band.
The archived work of Bruno in collaboration with @townandcountrymagjewelry for Tiffany & Co
Experimenting with make up in hyper hued colours by @surrattbeauty
His parting words could not have stirred me more, when revisiting the definition of success at this day and age of social media including living in the epicentre of New York’s grind in real-time, Bruno’s answer is refreshingly simple…
“I feel fulfilled, overwhelmed but excited, maybe thats success!”
Thank you Bruno, may our paths cross again.