Artist from Germany
Eva Breitfuss known as Eva Breitfuß is an internationally recognized contemporary abstract artist whose work is defined by her distinctive ‘Art of Presence’. Her artistic practice explores stillness, perception, and consciousness, creating spaces in which visual form becomes an experience of awareness rather than representation. Through a refined visual language of reduced forms, subtle geometry, and luminous chromatic fields, her paintings embody quiet intensity, balance, and contemplative depth.
Her work has been exhibited internationally across Europe, the United States, the Middle East, and Asia.
Notable exhibition venues include the Louvre Museum in Paris and the MEAM – European Museum of Modern Art in Barcelona, as well as presentations in cities such as New York, London, Florence, Venice, Milan, Dubai, and Beijing. She is represented by international galleries in Switzerland, Italy and the United States.
Eva Breitfuß has received numerous prestigious international art awards in recognition of her artistic excellence and sustained contribution to contemporary art. Her works are held in distinguished private and corporate collections worldwide and are presented within the context of a private contemporary art museum, affirming their lasting cultural and collectible value.
Her artworks have been published in leading contemporary art catalogs such as CAM – Catalogo dell’Arte Moderna and Atlante dell’Arte Contemporanea, and international special editions connected to major art institutions, including a forthcoming presentation connected to the Museum of Modern Art (MoMA) in New York. Featured in leading international art and lifestyle publications, including Art International Contemporary Magazine, Art on World, British VOGUE, The World of Interiors, TATLER and House & Garden, her practice is firmly positioned within the global contemporary art discourse.
Based with her Art Studio in Nuremberg, Germany, and shaped by formative years living and working in New York, Eva Breitfuß’s work reflects a rare synthesis of contemplative depth, formal clarity, and presence.
Artist Statement
“I aim to inspire an opening to consciousness, presence and greater awareness. Whether understood or not, we each have the capacity to awaken to our own soul. My work is an expression of that truth.
Regardless of the medium, Consciousness is at the center and I begin there. In the paintings, I start from the center of concentric circles, structures and lines. Though seemingly simple, it is the quintessence of a greater reality, quiet yet dynamic. Much can be expressed with only lines, dots and the silence between them.
Color is of prime importance in my work, representing the light reflected in each one of us. Colors, textures, and materials become vessels of awareness, inviting stillness and resonance.
Each artwork is a portal – an opening into the unseen, a conversation beyond words. Every painting arises from the center of being, from a dynamic, alive, and vibrant stillness. My paintings are very personal expressions and an attempt to get closer to the soul of who we are at our most essential level.
My work is not about representation but experience, allowing space for the viewer’s own perception, healing, and inner mastery.“
CRITICAL REVIEW: The artwork “BECOMING” directly embodies the idea of transformation as an open process: the tension between reduction and movement, between contact and collision, creates a space of transition that mirrors the threshold between fall and rebirth evoked by the exhibition. The layered surface suggests a gradual emergence, consistent with the concept of an identity in flux, still undefined, yet authentic precisely in its instability.
The dialogue between neon pink and white, between energy and silence, fragility and strength, makes visible that active vulnerability which the exhibition interprets as a source of creative resilience. Eva’s work “BECOMING” does not represent an outcome, but an act: a “becoming” that opens new perceptual and emotional horizons.
In this sense, her work aligns perfectly with the exhibition’s concept: art as a space of transition, as a gesture of truth, and as a possibility for continuous renewal. – Dr. Carmela Loiacono, Art Curator
more. www.evabreitfuss.space | Instagram profile
INTERVIEW with Eva Breitfuß
Carmela Loiacono talks with Eva Breitfuß who took part in the International Art Exhibition NEW HORIZONS – Authenticity, Resilience and Renewal in Matera, at Casa Cava, from March 21 to 27, 2026.
Carmela Loiacono – In BECOMING, the surface seems to hold a tension between emergence and restraint. Do you experience this work as something that is unfolding over time, or as a state that already exists and simply reveals itself through your process?
Eva Breitfuß – In BECOMING, I experience the surface less as something fixed and more as a field in continuous negotiation. It is neither purely unfolding nor entirely pre-existing. Rather, it reveals itself through a process of resistance and allowance. The layers hold traces of decisions, but also of interruptions and pauses. For me, the work exists in a suspended state—where becoming is not a linear progression, but a simultaneous presence of what has already happened and what is still in formation.
Carmela Loiacono – Your practice often begins from a center, both visually and conceptually. While creating BECOMING, did that center feel stable, or was it something that shifted as the painting evolved?
Eva Breitfuß – The idea of a center is essential in my practice, but it is rarely static. While working on BECOMING, the center shifted subtly over time. It was not a fixed point, but more like a force or gravity within the composition that guided the process. Sometimes it dissolved, sometimes it re-emerged elsewhere. This instability is important—it allows the work to remain open, to resist closure, and to carry a sense of internal movement.
Carmela Loiacono – The dialogue between neon pink and white suggests both intensity and stillness, almost as if energy and silence were coexisting within the same space. How do you recognize when a painting has reached that point of balance without resolving the tension?
Eva Breitfuß – I recognize that point of balance not through harmony, but through a kind of quiet intensity. It is when the painting no longer asks for intervention, yet still holds tension. The neon pink and white do not resolve into each other—they remain distinct, but in dialogue. I stop when the work feels alive in that tension, when it neither collapses into silence nor becomes overwhelmed by energy. It is a fragile equilibrium that I try to preserve rather than finalize.
Carmela Loiacono – Your work often originates from a strong sense of presence tied to place and process. In this case, your painting entered into dialogue with a space you did not physically experience. How does it feel, for you, to let the work exist independently in a context that carries its own history and atmosphere?
Eva Breitfuß – Allowing the work to exist in a place I have not physically experienced introduces a sense of release and trust. The painting becomes independent, entering into relationships beyond my control. In the context of Matera, with its layered history and material presence, I imagine the work absorbing something from that environment while also offering its own quiet language. This distance creates a new dimension—where the work is no longer only mine, but part of a broader dialogue between space, history, and perception.
