Salvatore Russo interviews Eva Breitfuß
1- Contemporary art has become an expression of multiple expressive techniques and languages. You certainly represent the example of all this. You move skillfully between photography, painting, installation, video and light objects. What does it mean for you to be a "polyglot" artist in artistic expression?
I experience myself as a multidimensional being expressing myself through different media, using different materials, perspectives and perceptions, which are all an expression of direct communication with consciousness and the vastness of creation. In my studio ‘Art of Presence’, I have been exploring multidimensional levels of awareness and the creative process for decades. Expressed through various modalities the ‘underlying message’ of my work is a reflection of a deep passion for connecting and communicating with the creative source. I believe that ultimate reality, some refer to as the Unknown, is accessible and that we are able to connect and co-create with it. It is a communication with Soul and is no longer relegated solely to the various wisdom traditions but is now being mirrored in science with the understanding that Consciousness is the foundation of all that exists. We are that Consciousness. It is not outside ourselves, not something we reach for but rather an internal truth that is revealed in moments when we open to Silence, the vast reality where all potential exists. It is pure presence, vibrant and alive. My work begins there, in Silence. In that open awareness creative energy arises. I meet it with presence and connect with it directly. My work is an ever-evolving process of deeper communion and connection with inner reality. It is a reflection of direct communication with Consciousness and allowing it to express itself in an act of co-creation. It is a dance, a union with my soul. Working in this way I feel it as an invitation to continually strip away all that interferes with that clear connection. All creativity comes from that bigger multidimensional space. In my life, I have sought to strengthen the capacity to open to and receive from that creative source. Something wants to come to life, and that moment of recognition determines the medium. Each method has its own unique quality. But its all in service to the final expression. When we allow the lightness (brightness) of being to be manifested in space we inspire people to see life from another perspective or many different perspectives. At this level I see contemporary art as tool and a call to wake up from mass consciousness. My Art, ’Art of Presence’ is an invitation to enter into deeper levels of awareness. Ultimately my work is an act of co-creation with ‘Soul’.
2- Yours is a world made of light. Since the recent Venice Biennale I have noticed many artists who instead move in the shadow of a sometimes enigmatic and incomprehensible representation. What does light mean to you, and what role do you give it in your works?
Since my earliest childhood, a saying of my grandmother accompanies me: ”Wenn Du meinst es geht nicht mehr, kommt irgendwo ein Lichtlein her.“ The saying means: ‘When it gets difficult and challenging in your life and you feel you can’t go on anymore, there is always a little light coming your way and shines on all the potentials you couldn’t see before, so you feel safe and loved again’. In the cultural view, light and dark are considered opposites, opposing forces. But I don’t see it that way. The light calls to the dark just as the dark calls for light. Ultimately they are a unified whole. But the light I try to express in my artwork is beyond the ‘duality’ of opposites. The light I am trying to express is presence, it illuminates and is the source of all potentials. My art reflects my intention to open to consciousness, presence and greater awareness. Whether we understand it or not, we all have the ability to awaken to our own soul. My work is an expression of this truth. My paintings are very personal expressions. At the same time, they are also an attempt to get closer to the soul, to the light of who we truly are and in that way they are an invitation to others. We are that light.
3- We can say with absolute certainty that today you are an artist with an easily recognizable language. You have your own alphabet, through which you express your ideas. How did you come to all this?
Curiosity is the first word that immediately comes to mind. Many questions and a great passion for life, for investigating and understanding underlying meanings and connections. We are such complex beings made up of so much… the past, present, all of our choices and experiences, thoughts, actions, feelings, longings, our history. In this complexity, I am always looking for the origin, the essence. In the truest sense it is to distill it down to the essential point.... and so the point is the beginning. The point moves out and becomes a line, a circle, revealing dimensions and realities, until many realities come together in motion and meet. For me, it is just like life. A kind of magic happens when we leave the boundaries of every-day life behind, the limiting perceptions and expectations that bind us, and begin to perceive reality differently. For me there is not just one reality, there are infinite realities and it only takes a change of perspective, a different quality of perception to experience. It all comes back to curiosity and the willingness to enter the unknown.
4- Every Artist, at least at the beginning of his career, has Masters of reference. What are or have been yours?
There is no individual artist that has a direct influence on me. And this is the way with artists. Ultimately we are alone with the creative impulse. It is said that there is nothing new and yet each personal expression is unique. The work of others touches me, encourages and inspires me. Some great artists that have captured my interest include Lucio Fontana, René Magritte, Camille Claudel, Hilma af Klint and Leonardo da Vinci.
5- Your exhibition path is full of awards. Would you like to tell us about the most important ones and the upcoming events that will have you as a protagonist?
This year I have been presented with 2 important prizes: ”The International Art Prize LEONARDO DA VINCI 'The Universal Artist' 2022" and "The International Art Prize CARAVAGGIO 'Great Master of Art' 2022". It was a great pleasure and I was very honored to receive this recognition of my work as an artist. I am especially looking forward to 2 upcoming art exhibitions and events in the fall which will include my artworks. The "International Prize PARIS" at Louvre in Paris, France and the "4º BIENAL DE ARTE Barcelona" in the MEAM (European Museum of Modern Art) in Barcelona, Spain. Also, there will be a solo exhibition of my work at the "Historical Galeria D'Arte Mentana of Contemporary Art" in Florence, Italy planned for the beginning of 2023.
6- What advice do you feel you give to young artists? Would you like to tell us about your approach to art?
Leave your comfort zone and take chances… not in a frivolous way, but recognize your edge and allow yourself to sit in the discomfort of that not-knowing. In that way the expression that wants to come through you has space. I’m self-taught in the Arts and I believe that no matter what the endeavor, be it in artistic expression or the most mundane task, everything can be approached creatively and with clear presence. Consciousness is the foundation of all reality, the source of all creativity. It is absolutely possible to connect with and co-create from that space of vast potential. For over 35 years, I have been exploring the field of consciousness, multidimensional awareness and personal transformation. I have also brought my creative energy to different modalities of movement, awareness through movement, dance and working with others who long to enter the vast space of consciousness and connect with their own soul. I invite others to join me in this exploration either through my art „Art Of Presence“ at www.evabreitfuss.space or through my practice: Der Leere Raum/ The Empty Space, a space for inspired consciousness and personal transformation at www.derleereraum.de. My primary work today is being a professional visual artist and yet my art is greatly enhanced by all of these various endeavors.
7- In Germany, art is a very important reality. In some ways it is even fundamental to German culture. Great artists such as Gerhard Richter have brought German art to the roof of the world. What do you think about it?
Is there a German art, an Italian or an American art? In my opinion, globalization has also arrived in the arts, and thus the roots and realities are mixed, boundaries that were once distinct and now blurred. I look at art through the works themselves and do not see so much the artist and their nationality behind it. The question that arises for me: is it not the international world of business and investment that have lifted these artists to the “roof of the world”. In the case of Gerhard Richter, we are talking about the most important and richest German artist of modern times, but can we therefore immediately speak of German art having arrived on the “roof of the world” again? Isn't art and its evaluation always in the eye of the beholder?
8- Color is a fundamental element in your works, as well as the sign. What meaning do you give to these two elements?
Color is of great importance in my work. It represents the light that is reflected in each of us. Each image arises from the center of being, from a silence that is dynamic, alive and pulsating with multi-colored light. Much can be expressed with only lines, dots and the silence in between. A line is a point that moves. A multitude of textures can be achieved with just ink on paper, acrylic, thread or oil pastel and soft pastel on canvas and those textures in turn, can transmit a whole array of feelings, emotions and energy. Ultimately, everything in life can be reduced to a single dynamic dot. Perhaps, one day, I’ll just paint a dot and be done.
9- Looking closely at your works, one gets the impression of entering a labyrinth made of shapes and lines. The geometric component is easily distinguishable. How do you manage to create works that are so complex and rich in elements of considerable critical interest?
I have never thought about that. There are no thoughts when I follow the creative impulse. In the moment, I am present.... there is no space for thoughts and thinking. I’m going beyond the mind. I enter a vast space that consists mostly of silence.... and trust that something will open up for me, show itself and emerge which I then translate into a language of colors, shapes and lines. I may not immediately understand what is arising. Often, a long time will pass before the whole picture opens for me. When a work is finished, I immediately feel it. Then I sit with it for a longer time in my environment. That way, I live with it, seeing it, passing it daily. Often I stay in communication and I can see more and more layers and levels, this can happen even after years go by. I think it is always a matter of perspective. What appears rich in elements for many is often for me a reduction of what I perceive. I always try to represent the reduction, to create a simplicity of the vastness, the unknown, the light. My art invites people in … into the unknown, if you want to call it a labyrinth, yes fine… Concerning my artworks and the critical interest. I can imagine and hope that my art sparks a feeling or invites an awareness to arise in the viewer which may seem strange and calls to be investigated. Awareness and consciousness do not speak from the thinking mind but from a much wider place in the viewers psyche. You might call it soul to soul communication. In fact, the work cannot be understood from the thinking level. But if the viewer allows themselves to be with the work, to open and be present then the work will speak. I’m not creating art for anyone or any market in particular, It is an expression that comes out of the deepest part of me and in some ways, a part of me that I might not even be aware of in the moment of creation. I open, it arises, I create and I trust my intuition, because I’m trying new elements. And so there is no conscious consideration of critical interest.
10- Every Artist has a dream in the drawer. Do you want to tell us yours?
For many years I lived in New York City. For me, it is still a very magical and special place. Though it has been awhile since I lived there, I have a dream to exhibit my work at MOMA…. what a wonderful dream!
11- Your Art travels all over the world. I know of your upcoming participations in exhibitions to be held in Paris and Barcelona. But can you tell me an exhibition place where you would like to bring your art?
I’m happy to see my artworks traveling the world… Years ago, my husband and I traveled to Japan. It was such a wonderful experience. Even in that foreign place, with such a different language, I felt at home. It was a magical place and I would love to share my work in the place that offered me such a lovely welcome. Dubai is another place I would love to share my work. Though for me, it would be very much like a step into the unknown. I would find it very interesting to enter into a conversation, so to speak, with the oriental culture by sharing my art there.
12- To all the great artists I have had the honor of interviewing, I have always asked the same question, a question that I now want to ask you too. Can you tell me a secret related to your art that you have never told anyone?
When I first felt drawn to pursue art, I was unsure because I was already trained and working professionally in the healing arts; as a Physical Therapist, a professional Feldenkrais Practitioner and Brennan Healing Science practitioner. I had an established practice. How could I move into creating art professionally? I had never studied art or participated in workshops. I am self-taught. In this, I had no doubt about learning through experimentation. I felt strongly that my path was to learn by doing. I know it’s not a path for everyone. Even still, I felt insecure about what others would say or how others would receive my art. Intuition was my guide and inspiration. I didn’t have a language for what I was doing and I felt great pressure to explain everything and it wasn’t really possible. I felt insecure about other peoples’ opinions. All through it I stayed true to a very strong intuition and my inner knowledge. And it all grew stronger the more I could trust in my own inner wisdom. Today I know that my works can evoke perceptions in the viewer and bring them into contact with the 'unknown', and hopefully with their own presence.
13- What do you think about the fact that today some works of art by artists such as Damien Hirst, Jeff Koons, Jenny Saville or Gerhard Richter himself are auctioned more than masterpieces by Leonardo da Vinci, Michelangelo or Caravaggio?
Anything is possible. That art has the potential to be recognized in this way, commanding huge prices for individual pieces even more than the works of the great masters is amazing. We are living in a time where this is happening more and more. It’s curious, however, if the prices truly reflect ultimate value. In recent years the boundary between the galleries and Art Auction houses has blurred. When works come up for sale at auction, it can create an atmosphere where bidding becomes more a matter of frenzy, or can become like a bidding war. And the prices rise astronomically. The question for me in all of this is; does the buyer purchase the work solely as an investment? Or, has the work touched the buyer in some fundamental way and therefore is an object of desire, something that offers the buyer a great enrichment for his senses and his existence? And… they are willing to pay the high price. I make no judgment here. I’m just very curious about it all. Personally, I am more concerned with how a piece impacts me as a viewer and as an artist. Another question that comes to me is; does the price of a work of art have anything at all to do with its quality, its ultimate value? In principle… yes. Yet history will have the final say. The system of art trade and auction is geared towards artworks as commodities. In museums, on the other hand, the commodity art becomes true art again with an ideal, with historical, aesthetic, social or even very personal emotional value.
14- Have you ever had a difficult moment related to your Art. Artists often have periods in which they no longer believe in what they are doing. Has it ever happened to you?
I think I am the biggest critic of myself. There are always moments, when I question my work and sometimes feel lost. Then I know it's time to stop the mind chatter and go into nature. However, in 2021, I experienced a period of uncertainty and ‘not knowing’ much more intensely. It was a very challenging year for me. I had no impulse to be creative for many months. It felt like something in me died. I questioned almost everything I had done up to that point. Nothing seemed to make sense anymore. I know that times like this are a natural part of the creative process. Still, they are extremely challenging and scary. At first, I ‘tried’ to get through by thinking my way out of the dark. But that was not the way. In the end it was the creative source itself that helped me to release the limitations, stay with the discomfort of not knowing and open to a much deeper place of realization. This is really about ‘Being’ and not about ‘Doing’. I believe that as humans we have unlimited potential. We are consciousness with the capacity to open to and create from the vast space of awareness. This is difficult to talk about because words and language themselves are limiting. It was not a crises of my work with art. I had been exploring consciousness and following the creative impulse for years. But this was a deeper call to more authentic Being. And it affects everything in my life, not just my art. Things started to shift when I allowed myself to be truly vulnerable, to sit with the discomfort and allow it all. It is a very tender place of being with the Unknown.
15- Who is Eva Breitfuß really? Would you like to tell us a little about the woman and not the artist?
It’s always a question of awareness - perspective. Usually I don’t like to talk about myself as a person separate from the ‘artist’. For me, there is no differentiation between the woman and the artist. Nevertheless, I can say of myself that I live a very unusual life, have always lived outside of the ‘norm’. This always challenges me and brings me to my supposed limits. I have fulfilled one of my dreams and lived for many years together with my husband in New York City and Long Island by the ocean. I have traveled extensively and have always opened myself up to new experiences. Often it is curiosity that keeps me going or a deep sense of clarity about the path I keep choosing. By that, I mean the path of opening to deeper levels of awareness and consciousness. There are no certainties in my life, no social safety net. It’s very much like my creative process. As a human, a woman, I don’t try to ‘figure out’ what to do next or how to be. I open to what my soul calls for. It may sound lofty but I believe that this is ultimately the way we as humans are called to be… to co-create our lives from the vast source of potential. In my humanness I often do not know which step is next, which decision is the right one. So it is also about allowing the creative impulse to guide me. I’m not fearless. Fear is a normal. It comes with the territory of being human. But I have chosen again and again to be on the edge of not knowing and allowing myself to experience a much bigger space. There was a time I chose to be essentially without a home, without any possessions, to loose everything. I had the grace to make the choice to not collapse, to sit with clear awareness in very difficult circumstances and embrace not knowing. It helped me to grow the muscle to be in open receptivity and allowing the creative impulse to come through. I see myself as a citizen of the world and my life has always been accompanied by unusual / extraordinary events and so the path to painting was also serendipitous. During one of my morning walks along the ocean in Long Island, I stumbled across a very large paintbrush. The kind of brush, which is used for painting boats. I had painted and drawn before, was creatively active, but with this experience everything changed …and so I began to paint consciously.
Today I live with my husband Marc and our cat Shawn in the Bavarian countryside, Germany. Being surrounded by nature, I love gardening, growing vegetables and flowers. I have a passion for design and beauty. I especially love the avantgarde of european fashion designers.
Translation and editing by Marcia Trainor
I’ve been invited to share my artistic story with Artistcloseup, a fast-growing art blog on the web. Artistcloseup believes that the story behind the artist is equally important as the artwork itself. When you buy art, you buy a piece of the artist, literally. What is the process, what is the source of inspiration, or the story behind it? What keeps the artist up at night? All stuff you want to know when you buy a piece.
Ich bin eingeladen worden meine künstlerische Geschichte mit Artistcloseup zu teilen, einem schnell wachsenden Kunstblog im Internet. Artistcloseup glaubt, dass die Geschichte hinter dem Künstler genauso wichtig ist wie das Kunstwerk selbst. Wenn Sie Kunst kaufen, kaufen Sie buchstäblich ein Stück des Künstlers. Was ist der Prozess, was ist die Inspirationsquelle, was die Geschichte dahinter? Was hält den Künstler nachts wach? Alles Dinge, die Sie wissen wollen, wenn Sie ein Kunstwerk kaufen.