Jill Berelowitz, born in Johannesburg, South Africa in 1955, is one of London's most recognised sculptors, renowned for her sculptures placed across the capital. Berelowitz's high-profile public commissions include the "Diving Girl" at the entrance to the London 2012 Olympic Village, "Core Femme" outside Charing Cross Hospital, the “Dorchester Sphere”, a majestic 2.6-meter tall bronze globe celebrating Queen Elizabeth II's Platinum Jubilee on Park Lane, London and the ‘Hallway Companion’ at 5 meters high in the central space of George, Mayfair, to name just a few.

Throughout Berelowitz’s work there is a duality always present, from her patinas to how she treats her subject. She focuses on two themes - the feminine form and organic shapes. Her female forms are almost ethereal in their sinuous shapes, but with strength showing from within their jagged edges or bright reflective surfaces. Each piece combines the fragile sensuosity of womanhood juxtaposed with the expert manipulation of her medium - the pure understanding of what can be achieved in bronze, reflecting back in bright patinas the unbreakable strength of women. Whilst, her organic series, perhaps influenced by the ancient and wild landscape of her youth, at first appears disconnected from her figurative work. Smaller fragile forms have now become monumental but then you see that these ‘organics’ are caring for humanity. The message is hidden at first, until you understand that all of her organic works provide humans with sustenance or natural medicine, which we are only now starting to remember once more. By changing the scale of our organic surroundings, she highlights the ancient prehistoric elements in petal, leaf or curve but with a startling modernity in their scale and patinas - they will survive into our far future but come from before our time.

Berelowitz is a rare sculptor today, in that she loves her main medium bronze and because she works alongside the artisans in one of the best foundries in the world, her works push beyond what most modern sculptors can achieve today. There are no heavy, one dimensional patinas on her work, but subtle washes that glimmer with bright colour, with areas where pure bronze is allowed to shine through in all its purity. There is a mastery here which we are unlikely to see again, which we haven’t seen since artists in the nineteenth century ran their own foundries within their ateliers.

Berelowitz has a pureness of empathic soul, which on meeting her you cannot miss but in her work her sensitivity to our world forms deep connections with the viewer.