Gil Bruvel  

With the Flow series, Bruvel continues to celebrate the imaginative and the real, yet here his vision seems to penetrate the veil of material form. These striking, evocative sculptures, comprised of graceful sinuous ribbons of cast stainless steel, reveal an essential underlying fluidity that exists simultaneously within the physical, quantum, and metaphoric realms.

For his more than thirty-year career, artist Gil Bruvel has passionately followed an ever-changing, organic flow of artistic expression as it has moved through a series of mediums and forms.

Each one is a reflection of the artist’s aesthetic sensibility and thoughtful perspective at the time, while continuously remaining open to the inner nudges inherent in a truly creative life. In each approach—from his surrealist-inspired and fantastical imagery to three-dimensional functional and sculptural art, to the current Flow series—he has drawn on threads of creative stimulus and artistic mastery that began very early on.

Bruvel absorbed precision of hand and an eye for design from an early age watchin his cabinet maker father work. Studies in the fundamentals of drawing and sculpture began when he was nine. Later, apprenticeship in an art restoration workshop provided an excellent art history education with intimate, hands-on insight into techniques of the Old Masters as well as a fluency in 20th-century art.

By the time the young artist set up his own studio, he was combining these and other creative sources with a finely honed eye for recurring patterns and motifs in the natural world. In 1990 he settled in the United States and now lives near Austin, Texas.

"I am very passionate about my current expression- Flow Series. It is the culmination of my life’s work. The overwhelming feeling of purpose and expression started with my design of George’s Horse [above]. I wanted to do something new and contemporary, but it wasn’t exactly the idea of modernity that led me to this design."

The ribbons with which I was creating lent me direct lines of expression; and with these tools I could finally capture the dynamism and weight I was seeking.

"I remember when I started to experiment shaping up the general line of George’s Horse. I could literally feel the infusion of motion enter my work in real time. With each ribbon, the eye bends, curves, assembles, deforms, and traces the edges of each subject. The ribbons direct my emotions and creative flow with a force like I have never felt before."