Elisabetta Brodaska

I choose the best pigments in the world

As I told you before, for me art has to raise the soul, has to be donewith the best materials we have here on earth.

My supplier is Kremer Pigmente in Germany , which they have the most beautiful pigments that they often are finding from minerals around the world, they have their own water mill, a very beautiful place to visit also.

In the body of water

The streake of color vibrate like sound waves, seem to propagate, like the circles in water, then overlay and blend in gravitazional field , that are flowing one over the other.

The time swallows and then spill over all the traces of every infinite instant, in an uniterrupted flow, that we call energy.

Whether it is sound waves , or bright, or magnetic, or those visible forms, even in the rocks that assume the geological eras, all the universe matter exists in the wavy form, even the mountains are waves, huge, massive, and very slow , but still waves.

All of the Alps are one of the most beautiful and old world swell, and their lustrous crests, radiate upon us, the nature of time, give us the measure of all the time it took to form ;even if it remains a calculation for us human almost immeasurable.

Art manifests it self as a result of an absolute intuition , the ability to shape such a calculation.

When we abserve the body of water that becomes ice , to which Brodaska shapes by painting on the most sensual of fabric , the silk, we already see an interpretation of the matter in its temporal dimension.

Primary colors are the elect constitutive of light , which has broken down into an altered temporal order, as if we could hear separately all the vibration that produce the sounds.

This painting works the miracle of breaking down the chords and recompose them, tending the arc of an entire harmony.

The intuition of Brodaska’s painting consists in giving us back the possibility of listening , to become a medium between different temporal orders and different states of matter; make us share in all her poetic art, because she is able to cross through the transparency of water, and to divide it , like a prism.

She is in charge literally to take us into this world of waves and light.

Brodaska’ s art works do not only give a representation of the visible reality , also operate in another scale: transcribe the signs that stage her perception, the silk then , through its texture translucent , becomes the tool , the medium through which to remodulate, this pictorial process, capable of simulating an h movement .

The result is a dancing painting which gushes joylike a fountain .

The glaciers that inspire the Brodaska work seem to be caressed and tamed as if they were great living beings , large animals that pulsate, breathe, run free and rest, the artist is fully involved in their vitality and thanks to her poetry we can approach these natural monuments within their strength into the dynamic purity of the elements and their millennial breaths.

Massimo Kaufmann

AN INDEPENDENT PAINTER AND WOMAN OF CONVICTION, ELISABETTA BRODASKA IS WITHOUT A DOUBT, AN ECLECTIC ARTIST. OF ITALIAN, POLISH AND SWISS ORIGIN, SHE BEGAN PAINTING IN LONDON AT AN EARLY AGE. INSPIRED BY VISITS TO THE TATE GALLERY AND THE BRITISH MUSEUM, THE YOUNG WOMAN DEVELOPED HER OWN ARTISTIC VOCABULARY, IMMERSING HERSELF IN THE SAVOIR-FAIRE OF SOME OF ART HISTORY’S LEADING NAMES. SHE CONTINUED HER STUDIES AT THE NEW YORK STUDIO SCHOOL OF DRAWING AND PAINTING, BEFORE RETURNING TO HER NATIVE ITALY, TO THE BRERA ACADEMY IN MILAN. MORE THAN JUST A PASSION, FOR ELISABETTA BRODASKA, PAINTING IS AN ESSENTIAL ACT, A QUASI SPIRITUAL SOURCE OF HAPPINESS. 

INCREASING AWARENESS OF ECOLOGICAL ISSUES To symbolize the grandeur of nature, Elisabetta Brodaska created this unique piece of work: a triptych composed of large canvases measuring 500 x 250 cm, the first part of which was exhibited publicly, against the backdrop of Mount Etna. This political and ecological initiative aimed to encourage viewers to look at nature in a deeper way. With this work, the artist offers an almost spiritual vision, with an inherent criticism of certain environmentalists who maintain a distant, clinical position from the nature that surrounds us. The artist poetically associates two extremes: fire and water, the positive and the negative, which when combined, generate life. At a time when the world is experiencing a dramatic sanitary crisis that has led to increasing isolation, Painting the Universal Glaciers Energy may be read as a message of union, a hymn to life, which the artist seeks to share with as many people as possible. Elisabetta is planning to show this project in some of the most beautiful natural sites, particularly in the Engadin, her artistic haunt par excellence, where she plans to settle. Next summer, the artist aims to present the complete triptych on the Morteratsch Glacier itself. In addition to the triptych, she is also working on an oil painting, made from natural vegan pigments, derived from various minerals. The other materials used, such as fabrics, come from organic artisanal manufacturers, and are mainly recycled from the artist’s other works and personal belongings. The organic aspect of the materials, traversed by beams of natural light, is fundamental to Elisabetta Brodaska’s work. A LIFE’S COMMITMENT THE UNIVERSAL LANGUAGE OF ART Inspired by the greats, from Turner to Kupka, or Segantini to Monet, Elisabetta views her art as a form of commitment to a better world. She conceives of painting as a universal language, capable of speaking and touching everyone ready to receive its message. “I feel and see life as an artist and an observer. Reality is not flat and superficial, but is multidimensional. Today, man needs to re-establish contact with nature instead of destroying it because destroying it means going against himself.” This woman of conviction and principles works for the renaissance of a humanity where man and nature are one. A world where people reconnect with their roots, thus re-establishing a harmony with themselves. A HOMAGE TO NATURE Aware of the importance of respecting nature, through her work Elisabetta Brodaska urges us to save nature from its primary enemy: mankind. It is with this in mind that the artist embarked on her Painting the Universal Glaciers Energy eco-project, a tribute to the Morteratsch Glacier, now threatened with extinction. Like her predecessor Monet, Elisabetta views nature as a being in its own right, and with its own soul. “Nature is a person and my work is the means I have chosen to communicate with her.” Painting the Universal Glaciers Energy is an ode to life. The canvas is filled with shimmering colours, evoking the representation of a universal energy that is stronger even than death. MAURA WASESCHA 119 As a global artist, Elisabetta Brodaska has cultivated other projects that allow her to deliver her message beyond the medium of painting. According to her, an artist needs to look at the world with their mind focused on nature, as nature acts as the intermediary between the artist and their creation. We must all act in our own way to change the course of things. For her part, since 2006, Elisabetta has created an entirely ecological jewellery collection, with the objective of helping African mining communities, by purchasing stones and materials directly from the source, without intermediaries. “Everyone, not just artists, needs to take action. We all have to react. Today, jewellers must reinvent themselves and make an effort to guarantee an ethical and ecological extraction process, by supporting the entire production chain.” More than just a painter, Elisabetta Brodaska is a true activist, ready to preach her love of nature in an effort to mobilize humanity.