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Welcome to my virtual gallery, I hope you enjoy.

Bruni Heym.

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A pictorial journey through Richard Wagner's opera "The Ring of Nibelung".

Brunhilde Heym

About the work...

Analogies with the fundamental principles of life united with the universal.

In Bruni Heym’s work, color, texture, icons, as well as the choice of format as a pictorial medium speak for themselves.

For her art has no pre-established rules, there are no boundaries. Her art is born from inner silence, it materializes, it becomes visible in the now.

Her works radiate a sensual intensity and reveal the artist’s great pleasure in experimenting with different materials. The often heavily embossed surfaces draw the viewer’s gaze into the depths of the image, there, where silence again becomes silence. The circle is closed. The interpretation is up to each one.

Source: Christel Kässmann.

"The Ring of Nibelung."

A work by Brunhilde Heym

You are invited to take a visual and sonic journey through the drama of four epic operas that contain elements of Germanic mythology as well as the medieval «Song of the Nibelungs». These operas are: Das Rheingold (Das Rheingold), Die Walküre (Die Valkyrie), Siegfried (Siegfried) and Götterdämmerung (Götterdämmerung).

The visual works have as a guide or thread the musical pieces, from which they are born and the libretto of the opera, from the Rhine Gold to the Twilight of the Gods. The titles of the works correspond to the text of the libretto and thus to the musical piece of the opera.

I pay particular attention to the female characters especially in:

«Brünnhilde – Valkyrie – Wife – Woman of the Future».

Wagner’s attitude towards women not only reflects the different roles assigned to the sexes in the 19th century, but also a deep conflict that Wagner tried to resolve throughout his life.

In the «Ring» hidden desires take the form of myth. As in the case of the Flower Maidens and the Bacchantes, the sensual seductresses in the «Ring», for example, the Rhine Nymphs and the Valkyries who promise the pleasures of Walhalla, do not seem to be real human beings. Fricka, considered by Wagner the living reflection of a wife, is just the opposite of these Valkyries and the Rhine Nymphs. It is significant how Wagner emphasizes certain aspects of the goddess. In the myth the wife of the supreme god, Wotan, is above all responsible for love and fertility. In Wagner’s work, however, she considers law above love in a truly patriarchal way. Thus, this is a woman who has assimilated the dogmas of patriarchy so deeply that she makes the fatal mistake of believing that this is the natural order of things. However, the loss of these natural origins has certain consequences, since the strict application of the law soon has a fatal effect on the man who created it.

The texts of the libretto are shown next to each work.

I present about 30 paintings of different formats (between 2×2 m and 1.30×1.30 m).

The journey begins!

Enjoy.