One-day, years ago, in an abandoned pigment factory, close to his hometown in Spain, Ollé picks up Pantone slabs hidden in the dust and dirt of the deserted floor. These metallic slabs each correspond to an RAL code now eroded by time. They are oxidized, old and unworkable. He stashes them away for ten years without making any use of them. They inspire him a study of colour and of the composition of painting. They allow him to create a “painting without painting”. These slabs abide by a standardised format, carrying a unique colour code. Based on this perfect repetition Bruno creates variation. Each of these small rectangles constitutes a different and repeated sign, making them unique. He uses these old slabs but also makes new ones, oxidized. He intertwines the authentic and the artificial. With time he is incapable of differentiating one from the other. He tries to recognise them but is unsuccessful. To his eye, these mistakes are invaluable. With these industrial tools, he builds his paintings like an architect. He composes his images like a musician. The palette is his elementary keyboard; colours are his range of notes. Whatsoever the form, colours are found upon the whole scale. Without preliminary drawings or blending, he builds arithmetic volumes. Each work is unique and composed of the same array of samples, identical and different. Each finished piece is a house of cards. Bruno piles up his blades of colour. Bruno distributes his deck of cards. Bruno re-cycles and re-composes. Bruno re-destines: he gives back a destiny to detritus. “Detritus and waste are a part of our existence, but must remain invisible. Our waste is charged with emotion, it comes from an intimate part of our lives. We throw it away as if it means nothing, dismissing it to disappearance.” In this place of disappearance, it looses its identity and is poured into anonymity. We discharge it. In this case, the discharge is the abandoned factory. Ollé went to retrieve “dead particles” giving them a new existence. “Waste becomes the vehicle of that which is no more and claims to have never been. It opens the door to a paradoxical beauty”. Bruno loves intimacy. He prefers small works, as they are the only way for him to create an emotional bond. The pianist plays close to his keys. “Faced with a large scale piece, I loose myself, I need the intimate rapport with small shapes composed of small elements.” His works are made up of a methodical and playful array: Harlequin coats, decks of cards, kaleidoscopes, casino machines, sign posts.