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Nadia Düsselberg
Nadia Düsselberg is a mixed media contemporary artist.
Nadia’s work is rarely conceptualised before creating; rather it has a more organic, intuitive approach. Each piece is conceived from moment to moment, driven by joy, led by the heart. She encourages the audience to reconsider their engagement towards art, offering a ‘felt’ experience, not just a visual response. She intentionally uses feeling and energy to create, so you can’t help but experience the works in this way; making the artwork a multi sensory experience.
In essence, Nadia’s work carries a bold and idiosyncratic feel and in turn embodies a rebellious nature. Deeply influenced by her connection to spirituality, Nadia often relates to the abstract language and processes of artist and mystic Hilma af Klint. Her other influences are iconic painters Cy Twombly and Jean-Michel Basquiat.
Nadia is a full-time artist, working from her Surrey Hills studio in Melbourne.
She sells her work nationally and internationally.
Nadia Düsselberg is a mixed media contemporary artist.
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Nadia Düsselberg is a mixed media contemporary artist.
Nadia’s work is rarely conceptualised before creating; rather it has a more organic, intuitive approach. Each piece is conceived from moment to moment, driven by joy, led by the heart. She encourages the audience to reconsider their engagement towards art, offering a ‘felt’ experience, not just a visual response. She intentionally uses feeling and energy to create, so you can’t help but experience the works in this way; making the artwork a multi sensory experience.
In essence, Nadia’s work carries a bold and idiosyncratic feel and in turn embodies a rebellious nature. Deeply influenced by her connection to spirituality, Nadia often relates to the abstract language and processes of artist and mystic Hilma af Klint. Her other influences are iconic painters Cy Twombly and Jean-Michel Basquiat.
Nadia is a full-time artist, working from her Surrey Hills studio in Melbourne.
She sells her work nationally and internationally.
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