Clémentine Bruno’s complex praxis can be condensed into a study of painting’s presets and indexicals, working through its genres and repetitions as a means of questioning the painter as singular genius. If we liken the writer to the painter, as Bruno posits in her work, words as much as images are infinitely interchangeable to produce different narratives and visual compositions.

Project Native Informant has held two solo exhibitions of Bruno’s work, Ironclad Contract, 2020 and Then We Are Both Satisfied, 2020, each exhibition held works as groupings that are suggestive of the form and grammar of language, Bruno draws attention to the constraints of painting to derive meaning in a linear sense. Throughout her practice, she mines the art historical canon, making use of both identifiable as well as obscure references, each work could be compared to a word that when seen together read as a disjointed narrative.

In 2021, she presented a solo booth, 10 to 16 at Frieze Art London, in 2022 and 2023 she has taken part in group exhibitions in various galleries including Fluxus Art Project at Nicoletti, London, Tabula Rasa Gallery, Beijing, Halle Nord, Geneva and Project Native Informant, London. Recently, One Gee in Fog, Geneva presented a solo show of Bruno’s works and TONUS, Paris opened a new solo show in September 2024.