Elisaveta Sivas:
Picture "I THOUGHT I WAS SMALL, BUT I AM ENORMOUS" (2023)
Proportional view
Picture "I THOUGHT I WAS SMALL, BUT I AM ENORMOUS" (2023)
Elisaveta Sivas:
Picture "I THOUGHT I WAS SMALL, BUT I AM ENORMOUS" (2023)

Quick info

Oil | Canvas, stretched on stretcher frame | Format 120 x 90 cm (H/W) | picture hang up | signed certificate of authenticity

incl. tax plus shipping

Delivery time: approx. 2 weeks

Picture "I THOUGHT I WAS SMALL, BUT I AM ENORMOUS" (2023)
Elisaveta Sivas: Picture "I THOUGHT I WAS SMALL, BUT I AM...

Detailed description

Picture "I THOUGHT I WAS SMALL, BUT I AM ENORMOUS" (2023)

This is a creation from the series TRUTH. My art is conceptual. Through my art I want to share knowledge about our Trueself and raise consciousness of the humans. TITLE: "I THOUGHT I WAS SMALL, BUT I AM ENORMOUS" Original oil painting on canvas, 90 x 120 cm. This artwork helps to realise that we are much bigger than we think once we start remembering who we truly are and manage to go out of the limits and fears our brain settles for us. We are One energy, Spirit and we are everywhere on Earth. When we see our life from this point, our fears go away, we start living from Love. Stop living the illusion of small and limited. You are enormous Spirit and you can create beauty in your material reality! Ready to hang. The borders are painted in white.

About Elisaveta Sivas

Elisaveta Sivas is a conceptual sculptor and visual artist based in Estonia.
As artist and spiritual mentor Elisaveta wants to remind to the humans who we truly are, to remind that we are One energy, one spirit materialized in many bodies on Earth. Only our Ego-brain keeps us in negative programms, keeps us divided, while deep inside we are nothing else but Love. Her art proposes a solution to the most global and relevant problems of anthropocene today. It brings people to Love, Unity, respect, inclusivity, sustainability and leads society to harmonious, prosperous and environmentally friendly future. Her style inherits the geometricity of the Cycladic figures, rethinks the abstraction of Brancusi's and Modigliani’s sculpture, and, echoing Chagall's naivety, passes into the era of metamodernism.
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