In the art world, there’s often a notion that creative journeys begin early, with talent manifesting from childhood. However, history offers numerous examples where a true calling found individuals much later, revealing unexpected facets of their personality and bringing a unique vision to the world. Elisabeth Daunelius, an artist whose artistic journey began comparatively late in life, is a vivid testament to this. Her path is a story of a deferred dream finally finding its outlet, of the courage to step away from established notions, and of the joy of self-expression that knows no age limits. This article explores the fascinating world of Elisabeth Daunelius’s art, her unique approach to materials and styles, her sources of inspiration, and how the late start to her career allowed her to achieve freedom and depth in her work.
You started your artistic journey relatively late in life. What prompted this significant change, and what has been the most surprising aspect of dedicating yourself to art?
I always yearned to express myself through painting and sketching, but I struggled with the idea that art had to be a perfect replication of reality. Painting emotions felt out of reach. That longing persisted until, late in life, I connected with a Swedish artist who guided me from the very basics. I studied with him for about 18 months, and soon after, a French artist became a valuable mentor, offering honest feedback I deeply rely on. My journey has also been significantly shaped by the unwavering support of my family and friends; without them, I wouldn’t even be discussing my art today. Due to COVID, much of my further learning has been online, which has limited interaction with fellow students.
The most surprising aspect of dedicating myself to art has been the sheer power of dedication itself. I’ve discovered an intense concentration and joy in exploring colors and textures, and an unexpected humility in the continuous process of learning. Art has opened up entirely new facets of my life. I especially cherish when someone takes the time and interest to view my paintings and perhaps even discuss them, as that, for me, is their ultimate purpose. I know I still have a very long way to go to reach the pinnacle of artistry, if ever.
You work with a wide range of materials – acrylic, oil, watercolors, fluid paint, markers, charcoal, and crayons. What attracts you to this versatility, and how does your choice of material influence the final emotional or conceptual outcome of a piece?
I’m drawn to exploring different materials because I have so much to learn and discover. I don’t want to be confined by “the right way” or “the right thing” to use. While this might mean I don’t achieve ultimate technical mastery in every medium, and perhaps never reach true grandeur, I’m not concerned with that right now. My priority is self-discovery through experimentation.
I enjoy using various media and feel completely at ease choosing what I deem fit for a particular piece. For instance, I’ll incorporate crayon, ink, or ProMarkers if their texture or color suits a specific element in a painting. It’s quite possible I’ll eventually focus on one medium, most likely acrylics, but only time will tell.
Your style is described as encompassing abstract, figurative, minimalist, and naive elements. How do you decide which of these approaches is most suitable for a particular work or theme? Is it a conscious decision or an organic development?
I began with abstract studies, which, though perhaps not the easiest starting point, suited me perfectly. It freed me from the preconception that I had to depict only “real” objects like apples or vases. However, among my aspirations is to master fine drawing, so I consistently practice my drawing exercises.
I also have a distinct childish streak – as my husband and daughter would readily confirm! I enjoy painting with a certain naiveté, not adhering to strict perspectives, and exaggerating elements as a child might.
How does a motif come to be? Sometimes I start by thinking about colors – how they interact and play on the canvas; abstract work lends itself well to this. Other times, a memory from childhood might inspire me. Crucially, it’s more important for me not to get bogged down by too many “musts.” Life presents enough limits and anxieties; I cherish the freedom I feel when I paint.
I usually begin with acrylics, watercolor, or oil, and then might incorporate ink or ProMarkers to achieve the specific color or effect I desire.
You are inspired by a diverse group of renowned artists, including Diebenkorn, Rothko, Picasso, Hodgkin, and Matisse. What specific aspects or lessons do you draw from each of these artists' works that resonate with your own practice?
These are indeed true artists and geniuses. One learns from the best, those who have excelled through immense effort, faced failures, and persevered. When I look at their work, I see subtlety, effortlessness, and exquisite use of lines and color. Learning to truly “see” their paintings is a fantastic experience. I’m captivated by Diebenkorn’s abstract work, Rothko’s immersive colors, and the sheer bravery of Picasso, Hodgkin, and Matisse. From these fantastic painters, I learn to be bold, not always striving for perfect accuracy, and to deeply understand the interaction of colors.
Your works are described as "alive with movement and energy." How do you infuse this dynamism into your pieces, especially given the minimalist, abstract nature of some of them?
I honestly have no idea how my works come alive with movement and energy. Perhaps it’s an intrinsic drive to convey as much as possible with as few expressions as possible? That’s certainly how I try to communicate in real life conversations.
You've had an impressive number of international exhibitions and received significant awards in a relatively short period. To what do you attribute this rapid success, and how has this recognition impacted your artistic journey?
I chose this path to accelerate my learning. Since I started so late, I felt compelled to learn as much as possible in the shortest time. However, exhibiting internationally is self-funded, making it a very costly learning experience. I think I pursued international exhibitions rather than starting in Sweden to get swift feedback on my paintings. I don’t believe it significantly enhanced my technical skills, but I certainly learned a great deal about the art market, and its high costs. Consequently, I no longer pursue international exhibitions, with the exception of this specific engagement.
Curators use words like "simplicity," "clarity," "serenity," and "lightness" to describe your work. What emotions or experiences do you hope viewers take away from encountering your art?
The words curators use—”simplicity,” “clarity,” “serenity,” and “lightness”—are indeed lovely. If viewers find some solace in my paintings, that’s wonderful. Interestingly, some of those very words have also been used to describe me in my professional life, so perhaps it’s simply part of my artistic DNA.
But more than anything, I’d love for viewers to ask “WHY?” so I can respond with “WHY NOT?” It’s far more engaging to receive a question than a mere statement.
Which of your achievements do you consider the most significant and why?
An American pianist once composed and performed a piece in Manhattan, directly inspired by one of my paintings. That was incredibly cool. Generally, I don’t dwell much on my paintings. I have a few that I appreciate for various reasons—perhaps a technique that worked well (or didn’t).
What new themes, techniques, or artistic challenges are you currently exploring or planning to explore in the near future?
Currently, I’m exploring Bruta. Bruta leaves me with a big “WHY,” and I want to see if I can answer “WHY NOT?” It pushes so many boundaries; I’m curious if I have the courage to go there, or if I’ll find it uninteresting.
If you could offer one piece of advice to someone considering a similar late-career transition into the arts, what would it be?
My advice would be: Paint, observe, paint! And critically, find your own supportive and kind community. The art world can be challenging; there are many incredibly skilled and well-trained painters. Don’t lose courage. Just keep painting!
