Theresa Bruno is a conceptual artist who works predominantly with found phenomenon. Her practice is primarily engaged with appropriation; using objects and semiotics to generate frames which allow the viewer to break down and challenge the structures which form their daily lives. She is heavily influenced by western consumerism; this being the main thread throughout her work. Playing with surface, she encourages her audience to re-examine what and how they consume. This critical dialogue creates a higher level of perception and awareness when exploring our relationship with 'things'. The base of her research includes a multitude of topics; at present she is investigating the still life and creaturality. 

She is specifically exploring the still life in greater detail by creating an interdependant series. The presentation of her work demonstrates a subtle rhopographic motive which compliments her observation into the banal. Influenced by creaturality she acknowledges that no one can escape eating and drinking however she is interested in the mixing between this basic everyday routine with the bigger ecomony of life. She is particularly interested in how these objects and routines have been replaced by symbols and is making us question how we interact with them on a regular basis.

In 'Fruit Bowl Painting' 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' 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.

'Decomposition' toys with the connection of living life between our bodes and fruit itself. Both have flesh, both get covered in dirt and both die. Here the symbol of fruit via synthetic scent enables us to escape our creatureality and connection with nature. The piece is symplistic in aesthetic yet holds a semiotic complexity within it. 

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.

Overall she wants her viewer to question where and how their life fits into each piece. To create a higher sense of critical vision which enables them to digest their daily life differently. To challenge ideologies, reality and the in-between.