Also, motifs and content in Brita Weglin’s oeuvre are bountiful, varied and multifaceted. Themes and topics are sourced from a lavish spring of experiences, interests and commitments: Upbringing, background and one’s own life stories, mythology and cultural history, opera, film and the visual arts, personalities from religion and popular culture, often with a fastidious focus and affable compassion regarding female protagonists from both myths, history and the vernacular. Yet this ample flow of works and kaleidoscopic output brandish common traits, recurring accents and unifying characteristics. While the figurative and narrative art of Weglin is not primarily naturalist, it has nonetheless a robust and consistent ground in an expressionist platform, with inflections and tonalities that are both burlesque and discreet, lively and harsh, brutal and tender, elegant and garish. Indeed, these adjectives point to a centre and a hub in the art of Weglin. That it is in these combinations or blends one finds a distinctiveness and distinguishing features and sentiments. And, simultaneously, that the absolute and uncompromising heart of the artistic practice of Brita Weglin is the human figure. At the core of her art is the human being, the human face and countenance, the human body and figure, individual or type or mythical character, in short, the human condition on this wounded planet; visualized and rendered in portraits, scenes, tableaus, situations, factual or allegorical, historical or timeless, ordinary or phantasmagorical.