(...) The current painting of Bruno Deprez can surprise by this powerful skeleton of the composition and by its violent chromatic richness. His style has gradually gained in depth, in mastery. From the omnipresent black that obsessed his palette, he managed to keep only more or less impulsive dark circles that still tickle the color and strengthen the axes of the composition. Fortunately, this evolution has not diminished the expressive potential of his work, which appears more than ever as an outlet for the unconscious. When conversing with him, Bruno Deprez readily evokes this physical relationship he develops with the work in progress, this body-to-body with the canvas, the material and the subject he saw as a joust, a struggle and which explains why he tends to favor larger formats more likely to support this creative onslaught. The themes he addresses are surprising. In addition to a profusion of crucifixions seen from all angles, the artist focuses on subjects that are rarely identifiable at first glance. The fact remains that the paintings of Bruno Deprez establishment with the one who looks at them an immediate connection, a kind of trigger initiating an internal dialogue. (...)
(...) And as far as Christ on the cross is concerned, the artist sees it above all as an allegory of human suffering, on a spiritual level in the broad sense, out of any religious connotation. Bruno Deprez abandons himself to a gesture that frees himself from the constraints and leads to a formal vocabulary more in agreement with this data of the unconscious which carries all his approach. Let us wager that power will always be at the rendezvous and that these developments will feed more than ever at the roots of the unconscious. (...)
Didier Paternoster, 2011
(...) It is incomprehension in the face of suffering. Bruno has too much compassion. The rest of death brings nothing.
The difficulty of accepting remains whole. So Bruno rebels. (...)
Louis Colot, 1993
When he appeared in the picture in 1983, Bruno Deprez was 19 years old and immediately took the place of the "Young people in anger" and other "Irascibles" of the 50's. Long-toothed artist, he screams in painting and screams in sculpture, real milk brother of the new German savages. (...) This is no contest, it is permanent revolt that is. (...) Party of the circle of hell, through the swirls of violence, the artist slowly emerges from the black depths. (...) The singular battle between the chtonian divinities and the solar power seems to turn into a dialogue where the concept of life after death pierces. Is there any more beautiful message for a visual artist?
Anita Nardon, (A.I.C.A) 1993
Continuing his heroic struggles with relentless rebel figures, Bruno Deprez conducts his work at the meeting point of chaos and mastery. With broad black strokes, he swings into space with a sincerity that does not fade over the years.
Guy Gilsoul, (A.I.C.A) 1991
A great joke with the works of Bruno Deprez. Blow of mouth or, rather, muffled cry, dull complaint.
Everything here is about love. And if it was at most to try to communicate his distress, to escape for a time to this pain of living. (...) But behind the inquisitive look, a tremendous tenderness.
Francis Chenot, 1989
Bruno Deprez began by being very mean (...) It was the big cry of a barely major boy, who wanted to share his anger and anxieties about violence, sex, money and insecurity (....) But Bruno Deprez, if he speaks loud, no longer mouth (...) We do not stop the ears. We listen to him, we discover that he has something to say and that he is sincere.
Stéphane Rey, 1988
He is a promising young artist (...) His language is powerful in both color and form.
Zahava Seewald, 1987
Bruno Deprez enters the world of art when he is barely 19 years old and does not lack breath or vehemence (...)
It screams and bleeds everywhere. (...) Caricature, hardly the most putrid part of a daily newspaper where we wander every day, and he does not seem ready to bury himself with indifference, nor to plug his nose.
Jean Cimaise, 1985