Evelyne Brader-Frank was born in 1970 in Switzerland and today holds dual Swiss-Canadian citizenship. She grew up within a family rich in creative energy: her grandfather was a landscape painter and her brother a surrealist, so the languages of shape and image were always around her. After completing a banking education, she found herself drawn instead to the world of sculpture, enrolling in her first class in 1990 and discovering a three-dimensional voice for the ideas she carried.Over the course of her career, she has worked in marble, soapstone, bronze, and stainless steel, refining a signature language of “reduced abstraction” that honors the human body while moving beyond literal representation. Her sculptures feel both grounded and ethereal, rooted in the warmth of stone or the cool precision of metal. She names many of her works after figures in Greek and Roman myth, inviting us to see in them both narrative and form. At Drew Marc Gallery, we are pleased to present a selection of Brader-Frank’s works, ranging from intimate marble pieces to her striking one-of-a-kind laser-cut stainless-steel sculpture. These works combine a sense of poised strength with an inviting sensuality, offering collectors a distinctive blend of classical impulse and contemporary abstraction. Artist StatementMoments of inspiration can come from anywhere—a song in the air, the rhythm of a woman walking, a shadow crossing a wall. These small instances carry the heartbeat of my sculpture. I began with a love for classical forms, and that remains a guiding light. At the same time, I strive to allow my own language of abstraction to emerge so that the work feels alive to both the past and our time.My sculptures are inspired by the body, by structure and movement, and by the curve and volume of what we recognize yet cannot always name. The choice of medium arises from the kind of time, weight, and presence I wish the piece to have. Stone remains the warmest: it gives sculptures a life, an interior glow. Bronze allows me to draw sharp detail and invite the eye to linger. And in steel, I explore the outer edge of form and light, mirror polish, and the reflection of space and the viewer. In each case, I hope the work invites touch, invites pause, and invites reflection.