Anna-Isabelle Bruey-Sedano is a French and first-generation American sculptor living in San Francisco, CA. Her work examines structures of support through steel, aluminum, ceramics, lead, and pewter, using destabilized domestic forms to question function, stability, and belonging. She has exhibited at Minnesota Street Project, Galerie Nicolas Robert, VAV Gallery, and the California Conference for the Advancement of Ceramic Arts (CCACA). She received a BFA in Sculpture from Concordia University and is currently pursuing an MFA in Sculpture at San Francisco State University (2027).

 

About

I’m Anna-Isabelle Bruey-Sedano, a French-American sculptor currently based in San Francisco.

I have moved many times throughout my life, and that constant movement has shaped the way I understand objects, spaces, and the idea of home. I’ve learned to think of home less as a permanent place and more through small, familiar things: where your toothbrush sits, where you shower, the chair you return to, or the objects that somehow keep following you from one place to another.

My work grows from this relationship between people and things. I’m drawn to domestic objects because they are so ordinary that we rarely question them. Chairs support us, utensils extend our hands, vessels hold things, and architecture tells our bodies where to move. I take these familiar forms apart, stretch them, repeat them, cast them, weld them, and rebuild them into objects that sit somewhere between functional and unusable.

I work primarily with ceramics and metal, but I’m interested in materials broadly—especially materials that already carry a history. I love processes that involve transformation: clay collapsing and hardening through fire, metal becoming liquid and solid again, discarded furniture being cut apart and given another structure. Imperfection is important to me. I’m less interested in making a perfect object than in finding the moment when something familiar becomes strange, unstable, or unexpectedly alive.

Making is also how I connect with people. Alongside my studio practice, I teach and work in community and university studio environments. Sharing tools, processes, mistakes, and knowledge with other makers has become an important extension of how I understand being an artist.

At the center of my practice is a simple curiosity: what happens to our relationship with an object when it stops behaving the way we expect it to?

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