Gil Bruvel variegated figures as he frames a progression of countenances in profound idea. With eyes and mouths shut, the figures venture quietness and tranquility, filling in as “a reminder of what it looks like to be centered and at peace,” Bruvel says of The Mask Series.
Diverse fit as a fiddle and size, the sticks are scorched, painted with unpretentious slopes, and afterward held set up with wood stick, making the figures show up pixelated and as a unique gathering of squares and square shapes when seen very close. From a good ways, notwithstanding, “that fragmentation reveals a coherent whole: a face arises from apparent chaos,” Bruvel shares. Through their grouped structures, the gatherings offer a visual allegory for the intricacy and inconsistency that is characteristic to human beings.