Arabel Lebrusan

Arabel Lebrusan (Madrid, 1974) is a Spanish-born, UK-based sculptor and visual artist. She holds an MA in Sculpture from the Royal College of Art (2023) and was a Research Fellow at the University of Brighton (2021). Her work has been supported by Arts Council England and exhibited at The Higgins Bedford, Bermondsey Project Space, Standpoint Gallery and internationally.

I make three-dimensional works that function simultaneously as both beautiful artefacts and social commentary. My instinctive and broad relationship with scale has led me to create miniature sculptural works as well as site specific work covering a two-storey building. My works range from unique and precious pieces of jewellery, ready-made sculptures and enticingly intricate wall pieces, to museum collection interventions, artworks involving people, performances, and projects in the public realm.

I'm interested in tension; the type in old-fashioned fairytales, where the witch eats the kids instead of the candy. My works always harbour a deep connection to the visceral, and are often suggestive of the females that I grew up around. In this domestic environment, women would butcher chickens in the backyard for lunch. Minutes later, they're walking down to the river to hand-wash dirty clothes, using soap homemade from recycled cooking oil. That female energy is sensual; tactile, doubled-edged, bursting with vitality and defined by alchemy. As if by magic, materials and objects are transformed, generating wonder every single time. Those powerful skills and crafts that I've inherited from my ancestors' collective memories are now the sources of my inspiration.

I'm fascinated by the ways materials carry inherent meaning and how that meaning can be transformed; moulded; reshaped. I'm interested in the power of the object; the idea that matter can vibrate and communicate with us as human beings. A ring made from the metal of police-confiscated knives, or a clay medal depicting the profile of a woman and her unborn foetus, killed with exactly that same iron slur... These are examples of matter that matters.

I'm fuelled by a yearning for justice; a desire to address inequalities and to amplify the voices of the people falling through the cracks of the system. Creating art helps me to cope with the injustices of this brutal world we live in; to process humanity's tragic histories of abuse, exploitation and inequality.

The language of craft, of highly skilful craftsmanship, allows me to seduce the audience and make complex concepts appealing and accessible. It scales my ideas down to a relatable domestic scale, creating an intimate dialogue. Channelling large social, economic and political agency through the medium of intimacy is really important to me. I aim to inspire change within the individual by making subjects relevant to them, enabling them to think about the world through the lens of familiar materials.

A very long time ago, my art teacher said to me: "Arabel, you make art with the end of your fingertips." I believe we can touch a thought and experience a physical response to a conceptual idea.

I was born in Madrid in 1974. Before settling in the UK over two decades ago, I lived and worked in the Netherlands and the Philippines, experiences that shaped my understanding of displacement, community and material culture in ways that still run through my practice today.

I trained concurrently in goldsmithing, gemmology, and Fine Arts at the Universidad Complutense in Madrid. An Erasmus exchange took me to Utrecht, where I lived and worked for several years before coming to the UK, where I completed an MA in Jewellery Design at Central Saint Martins. Much later, and very deliberately, I returned to full-time study to complete an MA in Sculpture at the Royal College of Art in 2023, a long-held ambition finally realised, and one that transformed my practice in ways I am still discovering.

My parallel career as a pioneer of the ethical jewellery movement gave me deep material knowledge of extraction, precious supply chains, and the human cost of mining. That knowledge is now inseparable from my sculptural practice and continues to open doors into communities, institutions, and conversations that purely art-world paths rarely reach.

I am based in Brighton, where the sea, the activist community, and the proximity to both rural land and urban inequality continue to shape my work. I move regularly between Brighton and London, staying close to both the communities and the wider art world that fuel and challenge my practice.