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KIM BRUCE
Kim Bruce established an interior design firm in 1983 that specialized in store planning all the while pursuing formal art training through a varied curriculum at The Alberta College of Art & Design and The University of Calgary. In 2000 she transitioned into a full time art career.
Kim Bruce was published in the New York Times in conjunction with a group show at the R & F Gallery in Kingston, N.Y. She has been reviewed in See Magazine, FFWD Magazine and The Gauntlet. Exhibitions include the Sculptors Society of Canada in Toronto, Ontario; The Windows at the Epcor Center for the Performing Arts and the Triangle Gallery in Calgary, as well as Harcourt House Gallery in Edmonton, Alberta. Her work is in the collection of the Alberta Foundations for the Arts and is privately and publicly collected throughout Canada, Australia, and the Netherlands.
Kim Bruce resides and works in the foothills of Alberta just outside the City of Calgary.
Kim Bruce was published in the New York Times in conjunction with a group show at the R & F Gallery in Kingston, N.Y. She has been reviewed in See Magazine, FFWD Magazine and The Gauntlet. Exhibitions include the Sculptors Society of Canada in Toronto, Ontario; The Windows at the Epcor Center for the Performing Arts and the Triangle Gallery in Calgary, as well as Harcourt House Gallery in Edmonton, Alberta. Her work is in the collection of the Alberta Foundations for the Arts and is privately and publicly collected throughout Canada, Australia, and the Netherlands.
Kim Bruce resides and works in the foothills of Alberta just outside the City of Calgary.
Off the Wall
Off the Wall is a series of cast encaustic sculptures that studies the architecture of form.
Casting encaustic (beeswax with pigment) in eggcups, teacups, muffin tins and desert dishes; Kim Bruce creates sculptures that explore the use of everyday objects as an architectural form. Once the piece is cast she manipulates the structures by applying her knowledge of colour theory, blending and layering coloured encaustic with a propane torch. As the series progressed, Bruce investigates shape and colour further through the use of geometric forms; constructing molds from matt board, clay and tin.
Subverting expectations by wall-mounting the clusters, instead of presenting them horizontally, the clusters function as an architecture. This juxtaposition removes the viewer’s subconscious association with the form and forces them to relate to the shapes and colours.
By using the wall as a canvas and allowing negative space to flow through Bruce creates installations that are visually demonstrative of balance, rhythm and harmony. Individually each piece is a miniature work of art in and of itself; when placed with others of similar shape and palette the whole becomes a sum of its parts
Casting encaustic (beeswax with pigment) in eggcups, teacups, muffin tins and desert dishes; Kim Bruce creates sculptures that explore the use of everyday objects as an architectural form. Once the piece is cast she manipulates the structures by applying her knowledge of colour theory, blending and layering coloured encaustic with a propane torch. As the series progressed, Bruce investigates shape and colour further through the use of geometric forms; constructing molds from matt board, clay and tin.
Subverting expectations by wall-mounting the clusters, instead of presenting them horizontally, the clusters function as an architecture. This juxtaposition removes the viewer’s subconscious association with the form and forces them to relate to the shapes and colours.
By using the wall as a canvas and allowing negative space to flow through Bruce creates installations that are visually demonstrative of balance, rhythm and harmony. Individually each piece is a miniature work of art in and of itself; when placed with others of similar shape and palette the whole becomes a sum of its parts
