Emilie Benes Brzezinski (1932 – 2022)

The overlap of art and design may seem obvious, but it remains important to underscore this relationship within Brzezinski’s work. Inventing a new life for her trunks was also a process of discovering what the trunks were telling her. Design is the creative influence in the process of that discovery. Brzezinski’s intuition leads a dead tree trunk into a fascinating new life full of majesty, familiarity, enormity, and puzzlement. Brzezinski’s work, shown around the world, indeed indicates her compositional artistry and design driven thinking.

The image of Brzezinski carving in her Florida studio demonstrates her continued dialogue with wood. Art has provided an escape throughout her life, and with it an inner knowing that she needs to keep carving, creating, and seeing the world through the lines and rings of her trunks. All of Brzezinski’s raw materials are “reclaimed, recycled and repurposed.”

Continuing to learn as she journeys into her late 80s reinforces that amazing and human need to always have a purpose. The years of the pandemic were markedly tough for older populations, whose social and familial connections all but ceased. Imagine if all of us knew the opportunity in art, expression and in finding one’s purpose! The moments of disconnection would take less of a toll, and the world would benefit from the beautiful expression that resulted.

A diagnosis of Parkinson’s Disease would be a challenge for anyone. Emilie Brzezinski refused to let the degenerative condition keep her away from her art and dialogue with wood. In fact, her passion for working in the studio seemed far more effective than any other physical therapy.

Though she would struggle to straighten her back between sessions with her trunks and often argue with her daughter Mika about wanting to use the chainsaw, Brzezinski would come to life when surrounded by her massive trunks. Outside the studio, she would become more anxious and apprehensive, noticing the physical changes age and disease bring more viscerally. Inside the studio, however, her physical limitations seemed to disappear.

Emilie Brzezinski’s sons Ian and Mark both ran track at Langley High School in Virginia. Also, on the track team was a young man named Arnie, who was a star, not because of his performance on the track, but because of his joy and resilience, never minding when he would arrive last at the finish line – almost every time. The artist’s daughter Mika notes in the artist’s monograph “Lure of the Forest: Sculpture 1979 – 2013” that Arnie was known as “Awesome Arnie,” and that he truly had the love of the whole town. Tragically, at his last race, Arnie had cardiac arrest and did not survive.

Brzezinski created “The Mystical body of Christ, a Memorial for a Deceased Young Sportsman” in memory of Arnie, thus creating a space of healing for the grief-stricken town. The sculpture for Arnie stands twelve feet tall and was cast in bronze, although originally it was composed entirely from tree branches found on the forest floor. The sculpture’s placement in the neighborhood church stands as a testament to the loss of Arnie, and the continued healing that occurs through art.

Brzezinski exhibited at Jim Kempner Fine Art in the early spring of 2018. The photo, taken at the Kempner in New York City, was Brzezinski’s first since the passing of her husband of 64 years. It was a heartwarming experience for her three children, who noted their mother’s smile that evening. The exhibition was a labor of love for everyone in the family, even though no one was sure it was possible. It was Brzezinski’s art that made it happen. They were all thrilled to see the artist back on her feet and celebrating several of her signature works at this important New York gallery. Since her husband’s passing, Brzezinski suffered two heart attacks, and was diagnosed with Parkinson’s Disease. The healing aspect of art becomes so evident with Brzezinski. In the company of her art, she comes back to life and her awareness glows and connects. Her joy is palpable.

Nature has a grand design, but its manifestations unfold in imperfection and specificity. Respect for this persistent individuality in natural forms is the underpinning of my work. – Emilie Brzezinski

An affirmation of nature permeates the work of Emilie Brzezinski. Each carefully selected trunk pleases the eye with sinuous forms that embody patterns of color and texture to reveal a secret history; a history shared through the observation of nature preserved in wood. Brzezinski states, “The material is warm and appealing, live, resilient and full of memories: It has grain, knots, grown-over wounds, cracks and surprises such as insect invasions, hollows and rot spots.” (Brzezinski: Lure of the Forest, Sculpture 1979 – 2013, p. 183) These permutations are integral to the artists process of exalting nature and the beholders journey of discovery while investigating the works.