tion The Movement at Galerie Denise René in 1955. With selected materi- als such as wood, cork, stainless steel, brass and copper, he realizes his Multiplans, using various elements, such as balls, discs, and play of light.
He moves to Paris in 1961 where he hosted his first personal exhibition at Iris Clert’s gallery, in 1962. Bury begins his large series of Open and Closed Volumes in 1963. The following year he leaves for the United States, where he teaches for six months at the University of Berkeley and three months at the College of Art and Design in Minneapolis. In 1964, he represents Belgium at the Venice Biennale.
In 1976, he creates his first hydraulic fountain. Still inscribed in the kinetic movement, his sculptures, once silent, now make noise. Pol Bury never stopped designing new steel fountains, each more surprising than the last, using simple shapes, cylinders, spheres, half-spheres, triangles, for different institutions and places such as the Guggenheim Museum in New York or the gardens of the Palais-Royal in Paris.
From sculptures and works on paper to magnificent fountains, the art of Pol Bury defied convention and pushes boundaries.