Many complementary contrasts are visible in the work. For example round and rectangular elements, organic and mechanical elements, movement and stagnation, fleetingness and infinity, East and West, saṃsāra and nirvāṇa. The duality of opposites is an indivisible whole, like yin and yang. It is a fruitful paradox of simultaneousunity/duality. As if I’m driven by the desire to escape cyclic existence and want to be included in the time of eternity. A perfect escape from the conflict betweeen Chronos and Kairos.

At the same time the work is intuitive. I start with a rough idea or material in mind. Form and expression show themselves during the creative process. It is not pre-conceived. The result is not the goal. This working method is the way of discoveries and sursprises. I choose a certain road. The goal is to walk the road step by step.


Review of Florence Marceau-Lafleur about The Joy of the Raindrop is to Fall into Water:

“The sheet of paper might wait an hour or a day. At some point, for an indefinite period, Elza de Bruin will draw a circle with a colored chalk. The color varies from one time to the next. The trace is initially irregular; but over the passages, her body finds the perfect flow, and the circle finds in her arm its precise ray. She stands, instrument of an indefinite moment, focused. For three, five, or ten minutes, she fully embodies this temporal compass. Then chalk breaks, or consumes itself away. The work comes to an end. The material decided so.”