Encased in acrylic glass displays, Charlotte Brüel’s "Invisible Sculptures" are meticulously screened within synthetic plastic cases resembling indestructible greenhouses, foregrounding the tension between nature and human influence. Her minimalist, symbol-laden showcases recall diminished theatrical scenes and evoke elements of absurdism associated with post-1945 theatre. A comparative gaze is activated when studying these works, where meaning arises not through narration but through the viewer’s nonverbal, sensual experience, ensuring their simple yet precise complexity.

Brüel’s sculptures seem never quite to stop; they unfold like tableaux materialising before the viewer’s eyes. At once open, exacting, and narratively unfinished, the works reflect a practice in which life and art are inseparable and continuously give rise to one another. This evolving life’s work invites the audience to slow down, observe closely, and enter into an ongoing dialogue.