Painter

Ella Ponizovsky Bergelson

Ella Ponizovsky Bergelson is a Berlin-based artist who creates site-specific text murals and public interventions, including temporary lime-paint works.

Ella Ponizovsky Bergelson quick facts

Bergelson creates site-specific multilingual murals and public interventions using typographic forms, with temporary lime-paint works designed to fade.

Ella Ponizovsky Bergelson quick facts
Full name	Ella Ponizovsky Bergelson
Born	1984 · Moscow, Russia
Died	—
Nationality	Israeli
Movements	—
Paint types	Lime paint · Acrylic paint
Other media	—
Other materials	—
Painting surfaces	Brick · Plaster · Concrete · Ceramic · Glass · Fabric, including parachute cloth · Paper
Painting methods	Hand-paints large-scale calligraphic lettering directly onto windows, masonry, and fabric. Temporary lime-paint glass works are designed to fade at different rates by location, while acrylic is used for some murals.
Common subjects	Language, migration, identity, memory, displacement, and historically charged public sites
Notable works	Among Refugees Generation Y · Al-Quds · Lay-lah Lay-lah

Sources: Ella Ponizovsky Bergelson biography, Ella Ponizovsky Bergelson: murals and works, Ella Ponizovsky Bergelson: Among Refugees Generation Y, Ella Ponizovsky Bergelson: Lay-lah Lay-lah, Ella Ponizovsky Bergelson: Among Refugees Generation Y concept and process, Ella Ponizovsky Bergelson: Present Figures, and WHYY: Ella Ponizovsky Bergelson.

Paint types used by Ella Ponizovsky Bergelson

Bergelson paints temporary text murals in lime on glass or masonry and has used acrylic on parachute cloth, matching materials to each public setting.

Lime paint

For Black Magic (2021), Bergelson painted directly on glass windows at Klingspor Museum and City Library with lime paint. The work uses architectural glazing as the image surface, placing painted letterforms in public interior spaces. Her project documentation identifies both the paint and the unusual support.
Acrylic paint

In Lay-lah Lay-lah, Bergelson used acrylic on parachute cloth for a public mural. The flexible fabric support allowed the work to be installed outdoors, distinct from the fixed glass and masonry surfaces used in other projects. Her project records document acrylic as a separate material in this site-specific practice.

Painting surfaces used by Ella Ponizovsky Bergelson

The documented supports include plaster and brick; the rows below connect each surface to works by Ella Ponizovsky Bergelson through collection records.

Plaster

Bergelson’s murals use plaster walls as painted surfaces, with the wall’s texture and permanence built into the composition. Her project records describe site-specific lettering and images applied directly to architectural interiors, distinct from portable fabric paintings. The support is part of the location and cannot be separated from the installed work.
Brick

Bergelson’s mural projects also use exposed brick, making the masonry itself part of the image. The rough support differs from smooth plaster and glass, so the painted marks respond to the wall’s existing surface. Her project documentation shows brick as a site-specific substrate in the built environment.
Concrete

Bergelson paints directly on concrete in public murals, where the rigid architectural support remains visible. Project records identify concrete surfaces as part of outdoor and site-specific work, distinct from her flexible parachute-cloth murals. The material is an installed wall surface rather than a portable picture support.
Ceramic

Bergelson’s project records document ceramic surfaces in selected installations. This hard, glazed material differs from plaster, brick, and concrete walls, and from the fabric used in her portable mural. The source supports ceramic as a specific surface in her practice, not as a general mural substrate.
Glass

Bergelson’s Black Magic is painted directly on glass windows at Klingspor Museum and City Library. The smooth transparent surface lets the architecture and the painted text remain visually connected. This fixed glazed support differs from the opaque walls and fabric used in other mural projects.
Fabric

Bergelson painted Lay-lah Lay-lah on parachute cloth, a flexible fabric support for a public mural. The material can be transported and installed in a different setting from the permanent glass and masonry surfaces in her projects. Her records identify the cloth and the acrylic medium.
Paper

Paper supports Bergelson’s smaller painted works and studies, apart from her architectural murals. Her artist records document works on paper alongside glass, masonry, and fabric installations. The flexible sheet provides a portable support distinct from the site-specific walls and windows she paints directly.

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