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About her work
Eva Bako-Bittner
finds her motives mainly in nature, be it as a full landscape or just a detail thereof - in the form of plants. Whether she is engaged in painting or using one of her different techniques for printed graphics, this is what she uses as a starting point to develop her own forms of expression - her own artistic language.
She has been distancing herself more and more from what used to be an almost photographic perfection. Thus, in recent times, there have also emerged different variations of her own paintings and graphics - which can entail changes in the plates themselves as well as experimenting with a new choice of colours. This has led to the development of increasingly independent structures in painting and graphic - with the lines and colours striving to establish themselves in their own artistic right - thereby making their own interaction more dynamic.
The said development is becoming even more apparent in Eva Bako-Bittner's recent and current creations. The artistic discussion about the subject of the landscape is taken to an abstraction of experiencing nature in its original form - while the process of constantly changing and reworking the original idea is being documented. 'Red Field', for instance, is a logical sequence to the development already indicated in the painter's earlier landscapes. We are, however, no longer talking about the changes in the countryside caused by nature or human influence. We visually perceive the traces of the actual process of reworking and revision of the painted surface as carried out by the artist, traces that provide us with an almost firsthand experience of the process of creating the painting: from the original idea, all the way through the subsequent changes that have eventually led to the finished work as presented today.
Technically speaking - and this can be said of practically all these works - the specific and quite concrete traces on the painted surfaces are left behind by the different tools used by the artist. In other words, she signs herself in the true sense of the word - by physically leaving her marks there.
Dr. Siegfried Weiss
Art historian