Brill's sculptures engage in an enthusiastic conversation between emotional and physical vitality.  He accomplishes this classic sculptural pursuit through remarkable transferences of stasis and dynamics.  
He is clearly sensitive to the nuances of a human body.  But his sculptures admit as much if not more about the direct and expressive manipulations of modeling in wax:  the push of his hand, 
the remnant impression of fingers, the shapes of his tools, the changes in pressure of his arm.  Stretched, twisted, exaggerated and relaxed, his sculptures freeze the suppleness of the wax and fix 
his anatomical forms in positions that range from the ungainly to the graceful.

Brill's adroit gestures with wax, made fast in bronze, serve as the primary conduit for meaning in his work.  His modulation of scale effectively change the content of each piece.  Smaller works, the size
of his original waxes, respond to the truth of a modest gesture, a subtle shift in posture, an exaggerated articulation of the model's arm or leg.  The small scale allows us to embrace the figure as a whole;
we can visually and completely digest it.  Moving around the figure, one searches for the enigmas:  what cannot be seen, what is only partially available.  

To add substance and vitality to the library of figurative sculpture is an ambition not easily realized.  Brill's vision, skill, and resolve advance his inclusion in the compendium.  More importantly,
he pursues without compromise and with passion the craving to populate a small part of our world with his work.

--Excerpted from "Humans from Earth - Figurative Sculpture by Curt Brill," by Peter S. Briggs, former curator of the University of Arizona Museum of Art, and current curator of the Texas Tech. Univ.
Museum of Art.