Lisa Etterich, The Grotto of God (left), Mixed Media, 100 x 120 cm, 2014
Lisa Etterich, The Grotto of God (right), Mixed Media, 100 x 120 cm, 2014
Lisa Etterich, Festival of the Caliph, Mixed Media, 160 x 200 cm, 2016
Lisa Etterich, The Bay of Silence, Mixed Media, 180 x 60 cm, 2016
Lisa Etterich, Hades Palace of the Underworld, Mixed Media, 230 x 180 cm, 2014
Lisa Etterich, Place of Worship of the Hidden Souls, Mixed Media, 200 x 160 cm, 2013
Lisa Etterich, Dragon Reign, Mixed Media, 200 x 160 cm, 2016
Lisa Etterich, Frozen Castle, Mixed Media, 80 x 100 cm, 2015
Lisa Etterich, Hades Fight of the Underworld, Mixed Media, 160 x 120 cm, 2015
Lisa Etterich denies the restlessness and storms of the time, but she leaves them on the sidelines. In her paintings, she designs an alternative world that aspires beyond chaos and violence, for order and harmony of the cosmos. Her works invite the viewers who have eyes to see, for meditation, to think about themselves, about their own background and their own way.
They are bright spots coming from a light that does not come from this world of false appearances, but from other spheres. The artist cannot be driven by the market forces of the art world, she is instead driven by her metaphysical and cosmic oriented imagination.
Red is her favorite color, a symbol of fire, energy and passion. Accordingly, she calls her portraits “Glow”, “Icarus in the Fire of Freedom”, “At the Height of the Volcano”, “Seething Earth” or “The Universe is Created.” She is, therefore, on the track of the God’s creation mystery and shows the universe at the moment of becoming.
The colors that she uses, in the original position, seem to have just been invented. Her various elementary and often erotically charged colors come to highest development in pictures such as “Marriage”, they are revealed in the four variations on the theme of “Tropical Waters” where indicated corals, cuttlefish, shipwrecks, incident solar radiation and dancing waves sing their hymn to the beauty of nature, or they light polyphonic manner in the triptych “Harmony in Blue”. With this devotion to the Far East, the artist creates a West Eastern Divan entirely her own kind. She combines Western world with piety and wisdom of the East and is able to build, in the best sense of the word, bridges between cultures with her cosmopolitan works which have rarely touched and fertilized each other.