The Gallery Artists Exhibitions Collectors

Bruce Gray





natural rosewood top
honduran mahogany base with maple wedges
top dimension: 18 x 11.5 in.
table height: 30 in.


Bruce Gray resides in Kars, rural New Brunswick.  He graduated with Bachelor of Arts and Bachelor of Science degrees in the early 1980‘s from Colorado State University and Masters in Engineering from the University of Washington in 1990.  Additionally, he has been artistically nurtured by life-long collaborative visual art projects with his artist mother.  He has devoted his life full time to visual art since 1991. 

He has exhibited his work in solo shows in Fredericton and Saint John, as well as juried exhibitions in Halifax, Toronto and New York City.  His designs and research findings have been published widely in preeminent woodworking, design, and arts magazines.  He has been featured in several TV documentaries and has taught and guest lectured at the New Brunswick College of Craft and Design, Charlotte Street Art Centre, Maritime Ranger School and the Fredericton Arts Alliance. He has sat on juries for the New Brunswick Crafts Council.

His work has been commissioned internationally for private, corporate, municipal, university and provincial collections including: J.K Irving, Dr Ivan Crowell, Freeman Patterson, Inga Pataki, John and Kathy Hooper, Suzanne Hill, David and Jane Hay, CIBC Wood Gundy, Saint John Energy, UNB Permanent Collection, the New Brunswick Arts Board, the New Brunswick Crafts Council and the New Brunswick Provincial Art bank.

“…we consider him to be the best person working in his field in the province. With an innate sense of wood, he has highly developed creative design skills, and a driving perfectionism which leads to exceptional quality.”

John and Kathy Hooper, nationally known artists, New Brunswick

“…It is the simple elegance of the negative spaces, the balance of soft and hard wood, and the selection of idiosyncratic features of the wood itself that makes Bruce Gray’s furniture simply unique..” “..a clean precise sense of design with a sensitivity to the organic intention of the trees..”  “..naturally occurring imperfections becomes the locus that contrasts the perfect and pure craftsmanship of the artist...” 

Marie Maltis, Director, UNB Art Centre

“ perfect proportion to the top and apron.  I can see how the whole table is balanced securely, yet as lightly as a dancer on point, one of the most graceful pieces of furniture I have seen...”

Nancy Bauer, ARTS Atlantic

“…Gray’s tables are marked by elegance and simplicity.  The details of each are meticulously looked after… The three-legged table is simply beautiful, its organic form logical and alluring…”

Ray Cronin, Daily Gleaner

“...Bruce has not only developed a distinctive style of his own, but has earned admiration and respect for the exceptional quality of this work...”

Christine Sabat, Daily Gleaner

“…work shows excellent taste, a fine knowledge of woods, and a true craftsman's application to detail…the result is both beautiful and functional…heirloom quality...”

Alan North, Alberta

“ first sight (the sculptured rocker) impressed us as a work of art…but when we sat in it, it felt like a custom-made suit. Things that are beautiful often don't necessarily work well, but you have crafted a masterpiece…both visually and in terms of function…"

Connie Ryan and Tom Bales, Florida, USA



My artistic activity is not work in the traditional sense, it is simply who I am.  My “work” is a marriage - I live and work with my partner (wood) which in turn, rewards me, satisfies me and nourishes me.  I know wood by how it behaves, reacts, by smell and touch.  My relationship enriches my life.

I typically start with a tree, processing it into lumber and slabs.  I follow wood where it takes me.  My richest and most honest pieces are designed from, and for, the wood itself.  I frequently incorporate complementary elements of glass and stone. 

The recurring themes in my designs are deceptive simplicity, elegance and naturalness.  Designs that use exquisite woods and maximize their strong visual assets: natural edge, surface texture and negative space. People often ask if I built it that way or if it grew like that. 

Conceptually I don’t try to think outside the box, I simply do not believe the box exists. I intuitively design works that challenge preconceptions of how furniture, sculptures, murals and architectural elements should look and be constructed: 2-leg chairs, 3-leg hall tables or no-leg hall tables; hour glasses that appear grown rather then made and doors with glass filled negative space and raw applewood handles.

My intention is to leave a wide-ranging body of artwork: a body of work that speaks to who I am, and how I have lived with wood.

Bruce Gray, 2015