BRUNO METURA, painter

Born in France to Caribbean parents, MéTURA’s creative drive is based on the observation of nature, humans and cosmogony. Through observation, he has the unique ability to create paintings that seek harmony in the whole. MéTURA’s work offers visibility, multiplicity and diversity of meaning, allowing the viewer to rotate and/or juxtapose his works. His work provides an anthem that initiates, erases and wipes out space by transmitting the viewer to engage within himself to ex-polish its foundation.

MÉTURA holds a E.R.A.P.M. from the Regional School of Plastic Arts of Martinique, Department of Art, Specialization in Painting, C.I.P. (Plastic Initiation Certificate), C.E.S.A.P. (Higher Certificate of Expression of Plastic Arts), D.N.A.P. (National Diploma of Plastic Arts), D.N.S.E.P. (Higher National Diploma in Plastic Expressions at ERAPM) and C.A.P.E. (Caribbean Advanced Proficiency Exam Diploma).

MÉTURA has participated in international cultural exchanges with the Diaspora Vibe Cultural Arts Incubator (D.V.C.A.I.) in Guadeloupe and Panama, Prize of the General Council, the DRAC GUADELOUPE in Paris, France, and the Third Havana Biennial with ERAPM and DRAC (Regional Director of Cultural Affairs) in Cuba. MéTURA’s work has exhibited in Martinique, France, Guadeloupe, Guyane and the United States. In 2022, MéTURA’s artwork from his Hint of Illusions subseries was exhibited in Miami, Florida in the international exhibition, Depth of Identity: Art as Memory and Archive and in 2023, his solo exhibition, Double Vision will be on exhibited in Baltimore, Maryland.

Rosie Gordon-Wallace, Founder and Chief Curator of D.V.C.A.I., articulates MéTURA’s artwork with these words, “…MéTURA believes his paintings serve to connect “the human dimension to its rightful reality in the cosmos.” His abstract works seek to make visible the fraught histories, and inexplicable effervescence of the Antillean region through form and color… In the works in his Hints of Illusions subseries, MéTURA creates diptychs, merging canvases replete with frenetic impressionistic marks, and a palette of hushed tones. His chromatic choices are subtle; gently they beckon us to look more closely, to allow our eyes to follow every line and mark within sight to develop a new understanding of not only the Caribbean, but ourselves and the lands and histories we inhabit.”