The many faces of Abstract Art in Eva Breitfuß’s multifaceted artworks, when color sculpts the concept
Immersing oneself in the world of informal representation often means discovering each artist’s expressive inclination, as if it were a true, distinctive signature within which the artist loses himself, emanating that tangle of sensations and emotions he perceives; or, conversely, when the narrative shifts toward pure concept or toward a rigorous, geometric analysis of creative expression, what emerges is a more balanced, logical, and rational approach, the filter through which an artist must view his daily experiences with a rigorous process of detachment from them. Today’s protagonist embodies these expressive perspectives, along with many others, because her nature demands to express itself freely in its entirety, thus shifting from a more immediate narrative to one in which reflection on the interconnections between individuals and the surrounding reality takes precedence, and further to one in which the concept alone must emerge from the canvas to reach the viewer.
When Abstract Art emerged in the early 20th century, it was intended as a definitive break with traditional figurative art, a way to mark the dawn of the new century with all its technological innovations that were ostensibly designed to make life easier but in reality rendered human beings, as well as all practical spheres of life, more impersonal and easily replaceable, stripping everything of its uniqueness. Thus, the pursuit of beauty and fidelity to the observed world seemed too anachronistic for a historical period dominated by practicality and the need to adapt, even formally, to that pioneering era. Wassily Kandinsky, considered the founder of Abstract Art, developed a style that could not be reproduced by any photographic device, which was just then gaining ground as a more economical alternative to portrait painting, nor could it be linked to any reality found in everyday life, thereby affirming the purity of the artistic gesture, which was as personal as it was analytically rational. Despite his intention to incorporate into his works, characterized by rich colors and figures balanced in space, the inner emotion that in his case was evoked by listening to classical music, his successors, however, adopted decidedly more rigid approaches regarding color choice and the figures to be included in the canvases, thus giving rise to De Stijl, which even rejected any color other than primary colors and any geometric forms not based on rectangles, squares, and straight lines, Suprematism, where the imbalance of obliquity served to explore two-dimensional rigor through color, again primarily primary colors, and finally Geometric Abstraction, which introduced a more varied color palette and, according to Piet Mondrian’s perspective, embraced the ambiguity of the circle, the triangle, and irregular shapes. But it was Abstract Expressionism, with all its creative anarchy, that immersed the viewer in the world of non-form, of painterly impulse that was at times more immediate and impassioned, as in Jackson Pollock’s Dripping technique and Franz Kline’s gestural painting, and at other times more reflective and meditative, as in the Color Field paintings of Mark Rothko and Helen Frankenthaler or in the Minimalism of Barnett Newman and Ad Reinhardt. The group of American art rebels pioneered a way of interpreting Abstract Art that was no longer detached from the inner world, nor restrictive in the choice and use of color and figuration, because what was fundamental was the individual artist’s ability to imbue every canvas with his own utterly subjective sensibility, using whatever gesture and color palette best suited that need. The German artist Eva Breitfuß, who defines her style as the Art of Presence, brings together all these narrative approaches in her artistic journey, incorporating them into a body of work that seeks to explore every facet of her creative personality. She thus moves from works in which Abstract Expressionism predominates in a striking manner, captivating the viewer with its chromatic power, to others in which Lyrical Abstraction takes center stage, connecting reason and emotion in a balanced and measured way, and finally to those where the concept, the subject of the artist’s meditation, prevails absolutely and is made explicit through the title. The color palette, in turn, does not rely on predominant or specific hues, rather, it adapts to Eva Breitfuß’s varying narrative priorities, as if it were background music accompanying the evocative power of the lines, marks, and circular forms, constantly present in many of her works, which appear as a soft latticework designed to protect and conceal the depths of the soul. One of the artist’s most evident characteristics is that of interconnection, those subtle lines through which she unites various points or the edges of a canvas, which become a metaphor for contemporary existence, where everything is connected despite the individual’s tendency to isolate oneself and withdraw into one’s own world. Technology, within this context, thus takes on a dual and divergent significance while on the one hand it is often responsible for a significant loss of social interaction, understood as an opportunity for real-life encounters, on the other hand by breaking down boundaries it allows people to connect, at least virtually, with people who in other eras would have been unreachable, and with information that would never have been received, effectively creating the possibility of not feeling alone even when external or internal circumstances prevent one from engaging with the outside world. In the Cocoon is the clarification of this concept, as the dense latticework of a structure made up of small transparent circles becomes a armor behind which one’s inner self can hide to protect itself from the impact of the outside world, yet those holes seem to suggest the need to glance outward, keeping an eye on what is frightening but cannot be abandoned; here too, though less stylized and obvious than in other canvases, the connecting lines mentioned earlier emerge, allowing anyone who chooses to seek protection from that thin, soft armor to communicate in accordance with the nature inherent in every human being. The choice to use a grayscale emphasizes the need for silence, essential for self-reflection and for attentively listening to one’s surroundings. Hold your thought though it belongs to the spirit of inner analysis that characterizes Eva Breitfuß’s work, displays a more geometric aspect, as the lines here are thin and highly stylized, they form reflections of ideas, cages of thoughts that follow one another seamlessly and that, in fact, constitute an intrinsic value to the essence and personality of every individual. The author’s exhortation it to stand up for our opinions—viewpoints that, even when met with opposition, are nonetheless the product of one’s experiences, reflections, analyses of the world around and personal growth; the colors of each line reconstruct the mosaic of events that, one after another, gave rise to those thoughts linked not only to the more rational side but also strongly connected to the more emotional side, and thus inseparable from the inner world of every individual. Keep Smiling is a more cheerful, playful canvas, perhaps less introspective yet it suggests a tendency to view everything through rose-colored glasses, encouraging to see events as a progression, as a way to test one’s strength and capacity for growth in transforming every obstacle into an opportunity, every impediment into a motivation to overcome it, and every circumstance into a unique adventure, even if not predictable where it will lead. Eva Breitfuß’s approach here is deeply inspiring for the viewer, as it reveals, within those spheres, the myriad colors of a life that changes its appearance depending on one’s perspective, the filter through which one chooses to view it. The oil pastels used on the raw canvas emphasize lightness and a subtle, delicate cheerfulness of hues that are as good for the soul as they are for the heart, because that is the best attitude with which to face life even for those who, by nature, are unable to see the positive side of things. Trésor is the synthesis of the works viewed until now, its yellow base that reminds gold, the freshness of lemons, and the warmth of the sun, is dominated at its center by a grid of small rods that evokes inner life, the fear of allowing those vulnerabilities that could be wounded to flow freely, and finally, the lines forming a pentagon converging toward the center of the canvas, the beating heart, the most precious and delicate part that gives the work its title. Eva Breitfuß has participated in solo and group exhibitions in Europe, the United States, the Middle East, and Asia, she has received numerous prestigious international artistic awards, and her works are featured in leading art yearbooks such as the Giorgio Mondadori Catalog of Modern Art and the Giunti Atlas of Contemporary Art. She is represented by galleries in Switzerland, Italy, and the United States.
Marta Lock
Artist Eva Breitfuß Transports Us and Expands Our Consciousness by Renee Phillips
Eva Breitfuss, known as Eva Breitfuß, is a contemporary artist whose paintings transport us on an enthralling, multi-dimensional, visceral journey of transcendent self-discovery.
A profusion of abstract styles culminates in her versatile artistic vocabulary. She orchestrates minimal and reductive imagery and open spaces as well as geometric shapes, detailed designs, and intricate compositions. Every line, color and shape she chooses reflects a purposeful intention to communicate conceptual breadth and depth.
With unerring prowess, Eva lures us into spacious orbits, curvilinear forms, concentric circles, undulating waves and crossing directional lines. Her images release an exalted crescendo and emanate a profound vibrational energy.
Eva’s stylistic symbolism is reflected in elements that suggest realms related to the microcosm and macrocosm. A semblance of repetitive patterns evoke imagery associated with the mysteries of quantum physics, chemistry, biology, and astronomy. Molecular forms suggest we are witnessing the miracle of primordial particles and the process of life and matter being formed.
The healing attributes of Eva’s images induce a palpable meditative repose. Her forms, shapes and hues seem to pulsate in harmonious synchronicity with our breath and our heartbeat. Visually and mentally they exude a spatial depth that stretches into infinity.
Eva’s titles serve as clues, metaphors and messages. They reveal her inspiration, spiritual intentions and her desire to expand and deepen our awareness. Her art is a profound narrative expression based on her personal spiritual growth which she generously shares with us.
As conscious and conscientious humans we aspire to attain the power of wisdom and self-renewal and Eva Breitfuß offers us the keys that unlock that power for us to explore, discover, and evolve.
Renee Phillips, Director and Curator, Manhattan Arts International and The Healing Power of ART & ARTISTS, New York, NY
Through these two works, Eva Breitfuss takes us into her world. A world characterized by the great spirituality of the sign. Sometimes you can't find the words to describe what you feel, sometimes the words aren't necessary. The spiritual becomes tangible. Energy becomes sacred and belongs to each of us. Through the sign of the spirit, Eva, traces what I want to define the new bisectors of signification. A meaning that must be sought beyond the canvas. A meaning that, linked to the signifier of things, leads to knowing the truths hidden behind Breitfuss's painting, which makes it one of the greatest interpreters of the contemporary sign.
- Dott. Salvatore Russo / Curator, Art critic
Observing the works of Eva Breitfuß, one notices a multiplicity of expressive modes, which have an identifying, clear, and distinctive style. It is as if one immersed oneself in spheres that lead to geographies further expanding to infinity. They reveal themselves in galaxies that become imprints of light and lead to narratives that conform to the paths of the artist's thought, and finds the way into the essentiality of synthesis. The rhythmicity of the sketches in frames, repeated in succession, leads to a painting where form has lost its descriptive function and leaves space for the often rarefied sign and color. Her works are stories revealing themselves in light and soft colors. Like mandalas, they describe paths that represent the highest and deepest values of life. They are journeys of thought originating signs and ideal geometries that want to escape the rules harnessing creative spontaneity. It is the experience of freedom in both lines and speech that is lost in brushstrokes and expanding luminescences. In the stylizations, Eva Breitfuß brings out the imaginary connections with time and space, becoming tangible in the creative act. The spirals of thought emerge in the joy of living and in the hope of finding a world that leaves room for the essentiality of the formal and archaic contents inherent in man. Harmony of notes, curved and closed lines, larger or smaller, create patterns of paths that harness the imagination bringing thoughts back to the experiences of living, where the rhythm of a secret and melancholic music escapes the analysis of the rational. The traces of inner freedom seem to follow real paths. They become level curves punctuated by gardens of signs. Thus her creative inspiration goes into the mystery. It clarifies itself in visible expression that, in the denial of reassuring forms and of the real, brings us back to the essence of man now disturbed by chaotic and disruptive living, where appearance is more important than being and living in harmony with creation. The artist's analysis captures the search for significant elements that move away from real experience to reveal themselves in a reality detached from the concrete and in equilibrium linked to the elaboration of thought. In the world of the artist there is no disruptive force of color that wants to overwhelm everything to highlight concepts. Rather, the delicate tones give meaning to the subtle traits that unravel in following thought. Thus, in Eva Breitfuß works, there emerges the creative force guided by imagination and genius that pushes to freedom and gives meaning to the reference points marked with colored circumferences and shaded in lighter tones that are never dissonant or lacerating. Soft intersections of rays of lines expand, dissolving the color in brushstrokes that vibrate in evanescent colors that have become an expression of the artist's understanding. With her works, she leads us to an immersion in her world that aims to bring out the value of life in peace and harmony with nature.
Federica Murgia
Die Ausstellung im Kellerhaus Pommersfelden bietet uns die Gelegenheit zu einem spannenden Einblick in das aktuelle Schaffen von Eva Breitfuß. Sie hat ihr Atelier im Atelier- und Galeriehaus Defet in Nürnberg, und zwar seit 2006. Kurz zuvor kehrte die in Erlangen geborene Künstlerin, nach einem siebenjährigen Aufenthalt aus Amerika, wieder nach Deutschland zurück. In den USA absolvierte sie ihr Studium zum Brennan Healing Science Practitioner®. Denn schon immer hat sie sich für die verschiedenen Dimensionen von Wahrnehmung, Intuition und Bewusstsein interessiert und diese auf schöpferische Weise erforscht. Sie selbst bringt es mit folgenden Worten auf den Punkt: „Meine Arbeit basiert auf neuem Bewusstsein. Es ist eine Auseinandersetzung mit verschiedenen Bewusstseinsebenen, welche durch die vitale Kraft der Kunst, nämlich Imaginationen möglichen Seins zu erfassen, hervorgebracht und lebendig wird.“
Schon der Ausstellungstitel, UNITY = Einheit / Ganzheit, der sich auch auf eine brandneue Werkreihe bezieht, verweist auf die bewusst multidimensionalen, vielschichtigen, in bestimmter Weise auch interpretationsoffen Assoziationsmöglichkeiten, die charakteristisch für das Gesamtwerk der Künstlerin sind: So steht Einheit / Das Eine (lateinisch unum) philosophisch betrachtet für ein „höchstes Prinzip“ (siehe Wikipedia). „Aus allem eines und aus einem alles“. Laut Heraklit ist der einigende Grund, der die universale Einheit und Ganzheit des Kosmos ermöglicht, der Logos, also eine die Welt durchwirkende Gesetzmäßigkeit. Man könnte vielleicht auch von göttlicher Energie oder auch von Mikro- und Makrokosmos sprechen. Wie auch immer – insbesondere für Heraklit bedeutete dieses Prinzip, dass sich das Eine durchaus aus dem Zusammenwirken von Vielem und Gegensätzlichem konstituiert.
Im Hinblick auf die Naturwissenschaften sind es Zellen, die zu den kleinsten lebenden Einheiten innerhalb lebender Organismen zählen. Diese kleinen, runden plastischen Körperchen tragen und speichern Informationen, dienen zum Austausch von Stoffen, zur Entstehung und Erhaltung von Leben und Lebendigkeit.
Und wie verhält es sich nun in der Kunst? Gibt es im Hinblick darauf etwas vergleichbar Elementares, alles Verbindende? Formal gesehen ist dies interessanter Weise der PUNKT und die, wiederum aus vielen Punkten sich entwickelnde Linie, als nächstgrößere Einheit, die die Möglichkeit eröffnet sich schließlich zu Flächen auszubreiten.
Spätestens jetzt lässt sich feststellen: Eva Breitfuß thematisiert in Ihren Lichtobjekten, Fädenarbeiten und Dot-Paintings nicht nur elementare Phänomene wie Farbe, Energie, Licht, sondern ist darüber hinaus mit ihrer Bildsprache einer universellen Weltsprache und somit einer komplexen Wirklichkeit auf der Spur - und das mit maximaler Intensität bei minimalem Einsatz der Mittel immer an der Schwelle zum Immateriellen und Imaginären. (Dass es nicht Überflüssiges gibt, ist ja ein wichtiges Kriterium, das auch für die Qualität in der Kunst steht!)
Eva Breitfuß zentrales Anliegen ist es, Gegebenheiten und Energien von Zeit, Raum und Natur mittels Kunst zu begreifen, zu erforschen, zu transformieren und zu transportieren. Alle präsentierten Kunstwerke sind Unikate, und selbst dann, wenn sie zu Werk-Reihen angeordnet werden, bildet jedes für sich immer auch eine eigene Einheit. Für die Ausstellung im Kellerhaus wurden die jeweiligen Werke speziell auf die jeweilige Raumsituationen abgestimmt, dies funktioniert so hervorragend, dass man meinen könnte die Bilder wurden speziell dafür gemacht.
Das Ergebnis ist: Auf das wesentliche reduzierte Werke, die schlicht und dennoch von stiller Dynamik, subtiler Poesie, intensiver Präsenz, teilweise grandioser Leuchtkraft und magnetischer Anziehungskraft sind.
Eva Schickler, Kunsthistorikerin M.A.