Introduction
Charlotte Brüel works with the contradiction between nature and human processing. The industrial acrylic glass displays seem to enclose a carefully selected array of sculptural studies in clay along with a suspended arrangement of found bird feathers. It is, moreover, a comparative gaze that is activated when one studies the contents of Brüel’s exhibited showcases. And it is the gaze, above all, and the nonverbal, sensual experience that, according to the artist, ensures the simple complexity of the works. It is as if Brüel’s sculptures never quite stop. On the contrary, it is like witnessing tableaux materialising in front of one’s eyes. Her sculptures appear at once open, precise and unfinished in terms of their narrative. In Charlotte Brüel’s practice, life and work are connected and born of each other. It is a life’s work that invites the audience to take their time and enter the dialogue.
Charlotte Brüel (b.1945) debuted as a visual artist in 1968 at the Charlottenborg Spring Exhibition. She has subsequently taken part in exhibitions including the September Exhibition at Sophienholm (1970); Spor I ler (Traces in clay), Kvindegalleriet (1982); New Nordic Art, Moskva (1990); Sindstrampoliner, Museumshallen, Natural History Museum, Copenhagen (2000); 64 Printboxes, Zebra, Den Frie Centre of Contemporary Art (2002); Sindstrampoliner, Den Frie Centre of Contemporary Art (2000); Invisible Sculptures, Nils Stærk (2020). In 2022 Charlotte Brüel presents her first public work at The Danish National School of Performing Arts, Copenhagen.