Brie Ruais’ sculptural exploration of the human body and natural elements is both profound and visceral. Beginning with a weighty 130 pounds of soft clay, the artist manipulates the material into radial forms that mirror her own physicality. This deliberate connection between the artist’s body and the clay underscores a deep exploration of embodiment and its relationship to the natural world.
The glazes applied to Ruais’s sculptures evoke the elemental forces of earth, water, air, and fire, further reinforcing the connection between the human form and the surrounding environment. Deep charcoal, blue, beige, and rose hues create a rich tapestry of color, each shade contributing to the overall narrative of the work.
Recent experiences with high winds in New Mexico have significantly influenced Ruais’s artistic practice. The gusts, which can reach up to 50 miles per hour, have served as a metaphor for the forces that can both challenge and propel us forward. This newfound inspiration has led to a new series of works that will be exhibited at Albertz Benda.
Ruais’s sculptures are informed by the poetry of Louise Glück, particularly the poem “Early December in Croton-on-Hudson.” The poem’s exploration of human vulnerability in the face of nature’s power resonates deeply with the artist’s own artistic concerns. The long, sweeping gestures that characterize Ruais’s works evoke the wind and waves, while crescent-shaped curves suggest the phases of the moon.
Beyond their aesthetic appeal, Ruais’s sculptures serve as powerful statements about the relationship between humans and ecology. By fusing disparate elements, the artist creates tangible records of the ways in which earthly, aquatic, and celestial bodies inform one another. Through her art, Ruais invites us to contemplate the interconnectedness of all things and to consider the role of embodiment in promoting equality and justice.
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