In this edition of Art Talks, we explore the themes behind the practice of one of our most recent additions to Crescent Hill, Bruno Capolongo. His detailed and nuanced works in realism offer a captivating lens through which to contemplate the world around us and the objects we connect with. Read our interview with Bruno below to learn more about his famed Kintsugi series, as well as his broader practice and interests! Let us know what you think!

artist bio

Born into a family with Neapolitan roots, Capolongo has developed a deep appreciation for both classical and contemporary art forms.

Bruno Capolongo is a distinguished Canadian artist, renowned for his innovative and diverse body of work. His art, which includes unique paintings, mixed media constructions, and ceramics, is highly regarded and has been featured in over 150 exhibitions, including approximately 50 solo shows. Capolongo’s work is cherished by both private and corporate collectors globally, and his contributions to the art world have been recognized with numerous awards and honours.

His artistic journey has been marked by a commitment to continual learning and exploration. He pursued formal art education in Canadian and American art schools, culminating in a Master of Fine Arts in Visual Arts degree. Beyond formal education, Capolongo has been an avid student of art, continually enriching his knowledge and skills through informal studies in Europe, particularly Italy, and America.

Capolongo’s work is represented by prestigious art galleries in major cities such as New York City, Montreal, Toronto, and Washington DC. His exhibition record is extensive, with more than 140 exhibitions showcasing his talent and vision. Among his many accolades, Capolongo is a three-time recipient of the Elizabeth Greenshields Prize, a testament to his exceptional talent and dedication to his craft. He has also won consecutive first-place awards in the national Canadian exhibition and competition ‘Evidence of Things Unseen.’

Mid-career, Capolongo discovered Kintsukuroi (also known as Kintsugi), a traditional Japanese art of repairing broken pottery with lacquer dusted or mixed with powdered gold, silver, or platinum. This discovery inspired a series in his artwork, where he beautifully fuses this unique and contemporary dynamic with traditional and classical forms. His Kintsugi-inspired works are a testament to his ability to blend diverse artistic disciplines and cultural influences, creating pieces that are both innovative and deeply rooted in artistic tradition.

Bruno Capolongo continues to make significant contributions to the art world, with his work being a subject of admiration and study for art enthusiasts and collectors worldwide. His journey as an artist reflects a passionate pursuit of artistic expression and a deep reverence for the diverse facets of art across cultures and eras.

“Yearning (Icon III)”, 40×40 inches, oil and 24kt gold on board

interview with the artist

CH: Unlike most artists who specialize and lock into a style, your work continually evolves. Why is that?

BC: Well, some travel the world with an insatiable desire to explore, to discover, and to challenge themselves. And others return to the same time-share every year. There are advantages to the time-share, but artistically I identify more with the adventurous traveler.

CH: Let’s talk about your Kintsugi series. They’ve been featured on book and magazine covers and have been the focus of TV and museum features and exhibits. But how did Kintsugi, a pottery-based craft, find its way into your work?

BC: The first time I saw a kintsugi bowl I was transfixed. It seemed like the missing link. For twenty years I had strived to fuse abstract and traditional painting. I was creating diptychs of highly refined realistic paintings paired with abstract panels in geometric configurations. The fragmentary nature of kintsugi became, paradoxically, my answer to unifying traditional and abstract elements in a single, cohesive whole.

“Yearning (Icon II”, 40×40 inches, oil and white gold on board

CH: What makes your Kintsugi series unique?

BC: Authenticity. As with traditional Kintsugi, my work starts with chaos, which I harness as a creative force.

Almost all my Kintsugi are made from shattered slate-like panels that are collected, reassembled, and mounted. In contrast to my earlier, highly controlled, and geometric work, I start freely now, with faith that a mess of broken panels and shards can be redeemed into a work of art. This makes each painting unique and meaningful. And almost every Kintsugi painting is rich with symbolism.

“Leviathan”, 12×12 inches, Oil and 24kt gold on board

CH: Can you talk a bit about the symbolism?

BC: I use subjects from mythology, legend, and history, such as the phoenix, St. George battling the dragon, and so on. Other times, there is no overt imagery, as in a painting of a single vase on a shattered panel. There can be considerable and nuanced differences in the series, but there is a consistency of spirit: When you fail and crash and all you’ve done goes down in flames… Rise and start over, like the phoenix. In the Dragon Slayer series, each image depicts a dragon being slain, which is my way of saying that we all have our personal dragons to slay, and in doing we grow stronger, realizing our purpose and potential.

“Dragon Slayer, St. George”, 12×12 inches, oil and 24kt gold on board

CH: So how do the gold portions fit in?

BC: In each piece, the gold highlights the areas where the fragments were bonded, effectively accentuating the breaks. This symbolism resonates with me because everyone endures hardships, and our reactions to these challenges shape our life’s journey and influence others. The trials that test us often foster our growth and character. So, the golden seams in my Kintsugi are akin to scars laid bare for all to see, much like a battle-scarred victor who displays his scars openly, and without shame.

CH: Why do you use real gold?

BC: Again, it comes down to authenticity. Gold is one of the most precious metals on earth; its value is intrinsic. I typically use 22kt to 24kt gold because this is serious work for me. I think it merits the gold. Also, gold does not tarnish, and it shines surprisingly well so that my paintings glow with life even in the dimmest light. It is beautiful to behold aesthetically, but it’s also meaningful. It reminds me of the importance of hope and faith.

“Qianlong Kintsugi II”, 12×12 inches, oil and 24kt gold on board

CH: Alongside the Kintsugi pieces, you have been creating rich and dynamic landscapes. Where did this desire come from?

BC: Travelling has been a big influence. Whether in Europe, the U.S. or Canada, I am always tuned in to the environment around me. I often study great landscape paintings in museums and as a result, my paintings are an attempt to capture the feeling of being moved. I guess it’s like I am trying to convey a religious experience with paint and canvas.

“Northern Light”, 48×36 inches, oil on canvas

CH: Many of the landscapes we see from you are evening scenes with spectacular displays of dramatic lightplay. What is the reason behind this? Are you drawn more to the evening palette?

BC: Yes, I have a natural inclination to early morning, evening, and nocturne scenes. These are the most contemplative times of the day and have always been the most compelling for me. There is also something captivating in the fleeting moments of early morning and evening, which heightens our awareness of time and beauty.

“Moonlight”, 36 inches diameter, oil on board

CH: Has anyone close to you influenced you significantly in your artistic journey? If so, who and how did this change your practice?

BC: I never thought of it before, but my wife, Grace, has had the greatest influence on me. She’s supported my career with encouragement to travel, earn my MFA, to push myself, and sometimes in response to her thumbs up or thumbs down, as it were, I’ve dropped or pursued genres and projects. She has been like a shadow co-pilot in my career.

“Windswept”, 24×48 inches, oil on canvas

CH: What are your goals for your art practice in 2024 and beyond?

BC: As an established artist, I have come a long way, but the greatest challenge is what comes next. I see a growing need for authentic contemporary fine art in an increasingly murky world of AI and virtual art. One of the goals I have for 2024 is to sharpen my focus on making real, authentic, and personal paintings, something that AI cannot do. By definition, only a human being can do that.

“Winter Palace”, 36×36 inches (framed in black), oil on board

CH: What do you do in your leisure time when you aren’t painting?

BC: I have no hobbies, but my artistic sensibilities do carry over into every aspect of my life. At home, this is seen in the formal garden environment that my studio is situated in. I feel like everyone should have an idyllic garden. The other thing that still captivates me is the study and experience of great architecture – especially the awe-inspiring glory of Byzantine Churches and monasteries – which, when in a beautiful garden setting, are heavenly places.

We are so thrilled to be able to represent Bruno Capolongo and we look forward to connecting our collectors and designers to his astounding work.

Watch our website and social media for updates and new work by Bruno!

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