Dina Brodsky succeeds in combining her two passions in her daytime job: cycling and painting. The works she creates, however, are remote from the large-scale, spectacular, energy-filled and attention-grabbing paintings typical of contemporary artists today. On the contrary, with their focus on nature and atmosphere they hark back to the landscapes of the Romantics and northern European artists of the 16th and 17th centuries. They are quiet, meditative works that exude peace and allow you to immerse yourself in the setting depicted – yet they are miniature paintings, often no larger than a hand’s width! To make the task yet more difficult, Brodsky is currently painting on circular copper plates, narrowing her options in the creation of her compositions. Paradoxically, painters of miniatures seem to be more fascinated by details than those working on a larger scale, where the scope for their inclusion is so much greater. As she says in an interview with Noah Becker, “A lot of my inspiration comes from medieval manuscript illumination and Islamic miniature art – I believe that those artists were trying to connect to the sublime by being incredibly compulsive in their attention to detail.”

So where does the cycling come in? Dina Brodsky enjoys long-distance cycling and takes a camera and sketchbook with her. Her painted scenes refer to these when she returns to work in her studio. The title of her most recent series of works and exhibition in London – A Cycling Guide to Lilliput – encapsulates these twin loves of hers.

For more information, go to http://dinabrodsky.com

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