< Brigitte Witzer



I am a so called late-developer: after detours in economy and science, after a strenuous life as a manager, a professor and an executive coach – a lot of this stuff outside of myself, I first found writing in deep dives a satisfying form of self-expression. But getting more and more glimpses of my person, my existence here and today, I fell in a relationship of radical expression by painting. Today, I am glad that I have found a strong position in myself that for facts (and less for decision making) relies on intellectual and rational elements. I’ve learned to be devote to emotional and spiritual impulses that qualify my decisions on a totally different level. I’m nowadays a social person and I walk the talk. The contact to ratio, emotions and spirits gives my live peace and quality, makes my daily life powerful and exciting. It comes with no suprise: My themes are power, beauty, presence and personality.

Please follow me into present… Working with interference colours is inspiring because unpredictable: The colour comes white out of the bottle and only developes on black ground. After the first contact between colour and paper a new world can be discovered, nothing stays as it seems. This is suggested by the present works that have been created in my studio in recent months. When I stand in front of “Ishtar’s Garden”, I see rich colours. When I move to the side, the colour impression changes radically: from light blue to fine green, from strong green to eggplant, grey steel or a delicate pink.
Interference refers to precisely this effect: wavelengths of white light are erased by superimposition and the remaining light changes to a mixed colour. In nature, this can be experienced with moonstone or with opals that mysteriously shimmer bluish-white, also with oxidized metals. It is not the image that changes, but the perception as soon as the observer moves sideways. In this way, images are created that pose puzzles to us because they have a new effect with a different focus. They offer ambiguity with changing perceptions without changing themselves.
Photographs and a catalogue cannot depict this effect; without your personal attention, these images remain underestimated and powerless.


1958 born on the Lower Rhine/Germany, lives and works in Berlin

2018 Individual lessons with Bernd Mechler, Düsseldorf
2018 Teaching with Bernd Mechler, Düsseldorf
2017 Workshop “Large formats in acrylic”, Chr. Middendorf, Essen
2015-2018 Teaching May Carro Cabaleiro, Berlin
2012-2020 Teaching with Marianne Sinner, Basel and Zurich
1997-98 Teaching with Peter Hofmann, Leipzig

1998 Dismissal from office at own request
1993 Employment as professor, Leipzig, “publishing production”
1992 Dr. phil. Communication Sciences (University of Dortmund)
1977-1984 M.A. Philology, University of Münster

2023 “Being close. Deep. Slow.”, ArtSpring, Berlin
2023 “Measureless skies”, studio exhibition on GW, Berlin
2023 “Art MUC”, Munich
2022 “Extra Cuts”, Open Studio at Helmholtzplatz, Berlin
2021 “Rainforest pictures”, solo exhibition, Halle/Saale
2020 “Less is more”, group exhibition, Bayrischzell, Kultursprung
2020 “ArtSpring”, open studio, Atelierhaus Prenzlauer Promenade
2019 “Mixed Record”, group exhibition Prenzlauer Promenade
2019 “ArtSpring”, open studio, Atelierhaus Prenzlauer Promenade
2019 “From outer to inner landscapes”, solo, Cloppenburg


My pictures are places of refuge for the present: they bring the beauty of the imperfectly perfect back to a world where quantity, consumption and forgetfulness of reality are commonplace. I also create them for myself, because being a woman is still a serious “threatening state”. Here and now we need spaces in which poetry, beauty, colour, fullness of meaning, and – yes, personal splendour in everyday life can touch the soul.

I work spaciously and I love the wide wingspan. As an essential technique I use a kind of monotype which does not aim at a print, but uses the original printing plate as a painting tool. By applying paint using a spatula or other utensils an independent color result is created. My painting is about the interplay of colour and delicacy. On a large scale, I tame my will to express myself, surrender myself to the here and now. With wild courage for colour, I walk cheerfully and fearlessly with uncertainty. That’s the reason my monotypes stand on. Smaller formats, the so-called “by-catches”, are created by wiping the printing plate with a residual ink application on prepared individual sheets.

Primarily I work on paper which appears to her as a material as fragile as man/women him/herself, transient and at the same time generous. Sometimes as a collage on canvas, which in turn makes her rework and again become a surface: What I create is completely imperfect and therefore never perfect. Perfection is a machine quality that produces a dead, lifeless and static beauty. That kind of beauty doesn’t touch me. My works are in the tradition of Abstract Expressionism. Emotion and spontaneity are more important to me than perfection, ratio and regulation.