The Australian artist Bromwyn Berman makes public and installation art as well as sculpture, drawings and paintings. Her alluring works relate intimately to, and reflect on, the natural world. The art seeks to ‘encourage a respect for our place in the evolution of landscape as part of the processes of nature.’ Organic signs and symbols recur – spirals, circles, pods, mandalas, honeycomb forms – and she uses a variety of materials, including copper wire, aluminium, stainless steel, stones, mulberry paper, bees wax, tree roots, charcoal, plant remains from rivers. These natural and man-made materials ‘evidence our interface with nature.’
Her public artworks and larger sculptural installations focus on landscape and natural systems; they speak to what she calls ‘our inner knowing of the earth body.’ Her studio practice, paper works, drawings and small sculpture explore ‘the simplest and most basic signifiers of natural systems’; they inquire into ‘archetypal forms of geometry as well as themes of the recurring mysteries that form the foundation of our experience.’ She believes in a deep collective consciousness, which art can put humans in touch with. Some might say this puts her within a visionary or spiritual aesthetic tradition, though her work is viscerally grounded, in roots, branches, copper wire, mulberry paper.
The breathtaking ‘Windspiral’ (2006), made of aluminium and stainless steel with timber support (120cm x 300cm x 300cm), was installed at the Sculpture by the Sea exhibition, Sydney, 2006. Berman says, ‘The shape is that of the wind, the colour and texture are the Australian bush where things are silvery and scratchy.’ The inspiration for this work came from living high on a cliff in the Australian bush as well a joyful day spent making artwork with a friend in this special windy place. She has made various other ‘Windspirals’ for different locations.
Her series of ‘Banksia Women’ (2011), pods woven from copper with river stones (140cm x 50cm x 50cm), were exhibited in various locations across Australia. The pod, Berman believes, is a deeply ‘known’ form, an ‘encapsulation of life to come, a concentration or distillation of all that is complex in nature, containing seeds of new life or… the promise of transformation to new form.’
‘The Portal’ (2013) is a circle of aluminium and stainless steel (120cm x 120cm x 20cm) suspended in woodland. Again, we have an organic form that may elicit a response from an ‘inner knowing’; and a form that suggests a liminal place or doorway with all the associations of transition and transformation. The work was exhibited at Sculpture at Scenic World, 2013.
Her ‘River to River: Interwoven Landscapes’ exhibitions at the Penrith Regional Gallery, Australia (2014), included various wonderfully titled sculptures and artworks: ‘Murmurings’ (215cm x 215cm x 30cm) is a mandala made from fragments of Casurina (River Oak) roots nailed onto paper; ‘There is another alphabet’ (25cm x 22cm x13cm) is made of Japanese mulberry paper, Moulin Delaroc paper and waxed Linen thread, with the paper contact-printed with plants from the Nepean River; and ‘You and I have floated on the stream’ (300cm x 60cm x 50cm) is an animated river of paper contact-printed with plants from the Nepean River and with Casurina roots.
Berman’s beautiful, enigmatic art changes the viewer, inspires them and engenders reflection; her pieces speak of the natural world and our place within it, using a language rooted in a material alphabet, one of paper, tree branches, thread, wax.
More about the artist can be found on her website (where quotes here were taken from) http://www.bronwynberman.com.au