Pol Bury, ‘Silver Cufflinks’, 2005, Elisabetta Cipriani

Pol Bury conceives movement to be an essential element in sculpture and he points out that all of his works are not complete until when they are not set in motion. By implementing a mechanism and by using materials such as stainless steel, he creates monumental balls that either spin or roll, columns that rotate, and planes that slopes. The movement that is achieved in his artworks is most of the times very gentle and gradual and it takes to the viewer a few moments of full engagement with the sculpture before actually perceiving it.

Bury brings the same idea to the jewellery and he designs pieces that appear static but in reality they have elements that move with the body: this is the moment when Bury’s wearable art becomes complete. These jewellery are realized by the renown goldsmiths MarilArt.

Signature: Signed and numbered

Manufacturer: Filippini

About Pol Bury

Best known for his kinetic sculptures, Belgian artist Pol Bury began his career as a Surrealist painter heavily influenced by the work of René Magritte and Yves Tanguy. After turning to geometric abstraction and associating briefly with the CoBrA group, an avant-garde movement that espoused the complete freedom of color and form, Bury discovered Alexander Calder’s work and began making mobiles of painted shapes and sculptures in which movement was emphasized. The movements he assigned to these sometimes-monumental works were often slow and almost imperceptible to the naked eye. “Speed limits space; slowness increases it,” he once said. Over the course of his career, Bury created a number of fountains that incorporated water into their kinetic workings, including his well known L’Octagon (1985) in San Francisco.

Belgian, 1922-2005, Belgium