Theresa Bruno is a conceptual artist who works predominantly with found phenomenon. Her practice is primarily engaged with appropriation; using choice as a tool for signification. She is a 'creative entrepeneur'; an 'ideas manager' who constructs, fabricates, synthesizes and mixes a multitude of mediums. Academically based in sculpture she has recently diversified her methodology by experimenting with both installation and film. She nominates and manipulates semotics with judgement and presentation being vital within her practice. She collects, selects, arranges, superimposes, organises and manipulates fragments from the bigger economy of life; creating constallations, montages, collages and a selection of unuseful socially distinctive unique 'things'. Her 'objects' are bearers of ideas, anchors of intellectual labour/property. She uses aesthetic simplicity to explore majestic subjects; order and colour mixed with wit and humour act as signatures of her artistic authorship.

This year, colour has been at the forefront of her practice. Colour can be split into two sections; a.) subjective, intuitive, expressive b.) objective scientific and ordered, she plays in between the two. Her work has explored the rampant absurdity of the carnivalesque slippage between the natural and artificial, organic and inorganic. Rejecting art historys obsolete beliefs and dramatized anxieties she creates visual pleasure intertwined with intellectual insight. Her pieces explore the elaborate scramble between serial and sensual; her artifical jungles bring achromatic austerity and a new chromatic opulence.  She plays with colours refusal to adhere to systems by conforming them into formulaic structures. There is fine line between colour fetishism and commodity fetishism and it is this line she is particularly interested in. Originally, colour has been associated with its natural source, but as the chemically mass produced colour chart replaces the colour wheel, endless possibilities arise. 

She is also working on a larger collection specifically exploring the still life in greater detail by creating an interdependant series. The presentation of her work shows a subtle rhopographic motive which compliments her observation into the banal. In 'Fruit Bowl Painting'2010 she uses paint colour samples named after fruit to explore how the names of fruit can be used to create hyperrealistic language within marketing to buy into the escapism within interior design. In 'Xenia' 2012 she uses jelly beans to illustrate the complexity of our relationship with fruit. Here an apple and orange take the same mass produced form and surface aids genericism. Artificial flavours have become as real as the banana itself.

As a genre still life has been historically constructed as the lowest form of picture making. It has represented the domestic realm – typically a womans territory – however art history has preserved a male dominated collection of Carravaggios and Cezzanes. She is aware of the role of a woman as artist, as consumer, as berry picker.

Contextually she associates herself with Pop and Conceptualism. A keen 'Duchampian' she hypocritically both criticises and celebrates arts elitest playground of symbols and quotes.

She is active beyond making using writing and curating as methods of further exploring artistic discourse. She has collectively opened a project space based in Bournemouth in 2013.