Elen Braga
(Website under construction)


Insomnia, 2025
De Laaiende Linies, 2025
The Dutch Way, 2025
Meisje, 2025
The Lost Tail, 2025 
Acidente, 2025
When the Clouds Cry, 2024
Our Land, 2024
Behold in awe, 2024
Als een leeuw in een kooi, 2024
Als een vis op het droge, 2021
Samson in the Lion’s Cage, 2024
Flesh, Stone, Iron and Clay, part 1, 2024
Flesh, Stone, Iron and Clay, part 2, 2024
Flesh, Stone, Iron and Clay, part 3, 2024
Standing on the Shoulders of Giants, 2024
Nebuchadnezzar, 2024
The Love Hotel, 2024
Hungry Pigeon, 2024
The Future is Europe, 2024
Lullaby, 2023
Bababuá, 2024
Bob, 2022
Witness of Times, 2022
I Will Build My Own Country, 2024
The Obstacle, 2024
I Don't Care, 2024
Goat Man, 2024
Klein Duimpje, 2024
Welkom!!, 2024
Een Sprekende Steen, 2024
The Adoration of the Earth, 2023
The Sacrifice, 2023
Spreekwoorden op borden (naar P. Brueghel), 2023
The Lizard’s Tail,  2023
Schatteke, 2023
Feed the Beasts and Feed the Children, 2023
Checkers, 2022
Eu e minha mãe (Me and My mother) (2022)
Palácio da Justiça, 2022
Un peu de liberté, 2022
Smoke, 2022
The Beast, 2022









The Course Of Empire, 2022
Prophecies, 2020



Information
Email
Instagram

Insomnia, 2025Thu Jul 19 2022
250cm x 540cm
Hand-tufted tapestry 

Insomnia, 2025
Performance with Stieglitzmusic, 20min

SecondRoom, Antwerp, 21 June 2025

Every dream of a bright future has a dark side—a motivation driven by ego and the
hunger for glory or social recognition. This duality became a central theme in my
work. I began contemplating the allure and danger of ambition, which led me to
explore the world of metal music, a subculture that often embraces darkness, not to
glorify it, but to confront it head-on.
By immersing myself in metal bands and their lyrics, I developed a fascination with
their visual language, including the vinyl covers and the raw poetic intensity of the
songs. Initially, I planned to create an assemblage using these materials—a collage
of sound and image to process and reflect on the dark side of desire.
However, as I delved deeper, I found myself drawn to the ways in which artists
throughout history have addressed darkness. I turned to Bruegel, Ensor, and
Friedrich—painters who dared to depict the abyss, the uncanny, and the spiritual
fractures of their time. Their work opened a new path for me, offering a way to
question how, even centuries later, we are still haunted by similar forces.
These historical references became mirrors of our contemporary condition. Are we
so different? Or are we still caught in the same cycles, haunted by the same ego and
illusions? As I worked, my dreams became more vivid, blending today's reality with
the symbolic weight of the past. These dreams blurred the lines between fantasy,
ego, and embodiment.
The work evolved into a kind of mental landscape—a space where the body
becomes an instrument of dreams, fantasies, and realizations. The body is no longer
a fixed entity but rather a terrain in flux, shaped by inner forces that resist
categorization. In this sense, I found a deep affinity with the words of Antonin Artaud:
"When you have made him a body without organs, then you will have delivered
him from all his automatic reactions and restored him to his true freedom."

©MMXXILorem ipsum dolor sit ametConsectetur 02026

Index   Next →