|Biography from Richard Beau Lieu & Associates:|
|As an artist and sculptor, Tom Brewitz continues adding to a body of work that spans 25 years creating wind-generated outdoor stabiles that utilize the environment to energize it's motion. Indoors, Brewitz carries through with hanging mobiles and hand generated floor and table-top kinetic stabiles with brushed stainless planes or colorful patterns of shapes moving gracefully, reflecting the surroundings and dazzle the eye. |
His work is exhibited in several art centers including Las Olas Art Center, Fort Lauderdale; Gallery Central, Hot Springs; Festival of the Arts, Oklahoma City; Fine Line Designs, Door County; International Wind Festival, Sante Fe;
The playful Calder-like hanging mobiles from Brewitz stay in motion. He finishes them with a combination of brushed metal, brass, copper, stainless, baked on colors and a variety of texture. His work is intended to create a sense of interaction and movement between the sculptural elements and the architecture. A soft air current or a gentle touch sends the elements on an enchanting dance. At rest, he places his work to stand majestic, counter-poised and aligned.
Brewitz combines juxtapose geometric shapes blended aesthetically while painstakingly balancing the sculpture to be sensitive and capable for movement with heavy or lightweight elements. His work ranges rom lively mobiles that provide an ever changing drama of color, shape and whimsy to outdoor massive metallic object gracefully swaying in a garden setting or commercial exposure.
From the spectrum of artistic expression outlets and myriad of medium and style selections, Brewitz sought to create kinetic art because there were unexplored opportunities. He reflects on the value of his work, "Art is entertainment in part. The challenge is to create what has never been done before. I chose kinetic sculpture because it has been relatively under utilized. What drew me to motion art is that it stimulates the visual senses more than other disciplines." Brewitz with his kinetic sculpture hopes to achieve a calming quality that enhances environment and architecture surroundings with dynamic appeal and charming effects. Brewitz muses, "Generating concepts is the easy part! Implementing them is quite another. I have more ideas than time and many are still unexplored."
Brewitz describes a recent commission for an dual office tower complex in Northwest Chicago he prepared in 2002. He used a fifteen foot long cable and element system connected to the ceiling with adjacent strands hanging multi-shaped elements with brushed copper, brass and patina surfaces in a twenty by twenty foot pattern, each element turns independently from the other as it captures the air currents. "The piece was shipped and installed two years before I was able to view it. I learned finally how the sculpture interacted within the a busy lobby setting with the doors, stairs and elevators disturbing the air. When I saw the sculpture flutter and dance, it allowed me to learn more for future projects" He adds, "Testing a sculpture as large as this, there were many un-doable. The space could not be accurately simulated as when exposed to the actual site surroundings. Nothing serves like actually seeing the piece in it's setting under normal conditions to measure predictions. The color, blends, and motion turned better than anticipated! There are risks attempting what hasn't been done before but there are also rewards for the piece itself and to dermine the outcome of future work."
Brewitz' work often takes on a look of a graphic drawing set into motion. A reason for this is that Brewitz has several monikers - graphic designer, logo designer, name and slogan creator, magazine designer, marketing writer, generating a host of print and web promotions commercially. This career influences his sculpture like taking the Olympic logo five rings and turning it into a moving piece of art. His abstract graphic compositions set in motion is often mistook for being motorized or electrically produced. Stimulating metallic elements and vibrant color schemes, moving geometric objects and the study of balance are the key to Brewitz' kinetic work.
History to Present:
As a young boy in the 1960's, Brewitz sketched cartoons, was interested in modern art and decided to be an artist while attending grade school. He created clothing and put slogans with illustrations on shirts. Later, as a young man traveling Europe, South America, Africa and islands for the US Navy, Brewitz was exposed to contemporary, ancient and classical architecture. He was attracted to the work of the Italian, French, German, Spanish artists and architects. During his college studies including the University of Minnesota, he rediscovered architecture and interest in sculptors David Smith, Yaacov Agam, George Rickey, regional artists and famous masters.
In the 1970's, Brewitz began working with metal and learned to predict how balance and motion can be exploited for maximum visual impact. He honed his balancing skills and experimented with brushed finishes that gave the metal depth and luster. The broad appeal of his work in initial exhibits in the early 1980's won him praise and applause. As he developed his mastery of kinetic sculpture, Brewitz also took a career in graphic design. His illustration talent allowed Brewitz to create portraits for reproduction, logos and printed media including magazines, advertising and promotional material. Today he still enjoys working as a corporate image consultant for CornerMark.com putting together a wide variety of services for businesses. Crossing over to two dimensions, Brewitz' Warhol-like colorful 'Albert' was published in German textbooks. His sculpture is enjoyed in private collections and corporate installations entertaining audiences for over two decades appearing at private homes and businesses in Australia, Asia, Europe, and the Americas.
Statement from Tom Brewitz on his artwork:
"In my experience as
an artist for over 30 years, a successful kinetic sculpture is a
rhythmic form of art that entertains and electrifies audiences.
Influenced by past sculptors; Calder, Rickey, Smith and others, I use
stainless steel as the preferred medium due to it's longevity,
reflective quality, and receptiveness to brushed finish applications.
Each piece should not only move, but also be a unique composition in and
of itself. Motion is a component that stimulates the visual senses
which seems to calm and excite the viewer simultaneously, especially
when the sculpture is human sized.
Be it air currents or a
gentle touch, the environment where the sculpture is placed influences
the whimsical elements of the piece in an ever-changing art-in-motion
Exploiting computer design tools helps me to generate
concepts and explore ideas as accurately as possible well before
committing to fabrication. By placing conceptual drawings into site
specific photographs, I am able to afford the client a view of how the
piece will interact against existing architecture and landscape features
prior to installation. Once a commitment is made to construct the work,
balance, alignment and are evaluated and adjusted during the
manufacture of the piece to maximize and ensure a quality kinetic
sculpture performance that is engaging, pleasing to the eye and stir the
imagination of onlookers. In doing so, I am honing in on delighting the
widest audience with a myriad of tastes.
Occasionally and upon
request, other metallic mediums are explored including brass, copper or
applied color schemes. I am motivated to create sophisticated, playful,
enjoyable, and more importantly, an ever changing piece of sculpture to
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