source: the189
Over the last couple of months sculpture seems to have really got a hold on me, I’ve been constantly floating around to see what I can find online, and have been somewhat taken by the idea that an object can challenge conventional ways of thinking just through an abstract form. Which was why I was delighted to stumble upon the portfolio of Eva Hild yesterday as her ceramic sculptures feel like ongoing experiments that the artist just keeps evolving. It’s no surprise to me that Eva was born and currently resides in Sweden, as the Swedish are known for their considered and creative eye, however what did surprise me about her work was the shire size and scale of each, their subtlety is definitely deceiving.This is no means a criticism, she’s really mastered an understated style and if anything it’s a compliment to the skill of the artist, their fluidity is incredible. The continuously flowing inner and outer surfaces leave a constant array of unique views of the object, the mystery is their attraction with something new to discover with each step left or right of the sculpture. Every piece Eva creates is handbuilt, typically out of white clay however in recent years she has gravitated towards darker clays which speak more of strength and presence opposed to fragility and poise that a lighter palette presents.The first stage of the process is the slowest with a gradual construction of the basic form, applying layers of clay together into one body. Once Eva is satisfied with the original outline she lets the clay dry for a while before sanding the surface down to get these sweeping, smooth shapes that make her works so desirable. These are then fired twice and finally treated with a silicate colour, linseed oil, and pigments. Having dabbled in the art a bit myself recently you come to realise how fine the margins are between creating a flawless piece, or something that disappoints in it’s details, these are certainly not as easy to create as they are on the eye. I’ve got a huge respect for Eva, she really is a master of the art.Talking of masters, myself and Mark actually made a trip to admire some of the greatest creative minds that ever lived yesterday at the Barbican’s exhibition of the Bauhaus, and I honestly think Eva’s works wouldn’t have looked out of place there. You can draw a lot of comparisons between the artists because they all enter into the school of thought that experimentation and expressive thought is the only way to create. If you’re in London for the next couple of days I’d really urge you to make your own visit, in the meantime you can access more information and imagery regarding Eva Hild via the link placed below.
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source: evahild
My sculptures are bodies, exposed to pressure and movements.

Influence, pressure, strain. These words have been the foundation for my current projects that comprise communicating the theme in large, hand-built sculptures. Delicate continuously flowing entities in thin-built clay. They reflect varying degrees of external and internal pressures, and how, as a consequence, perception of inner and outer space is changed or challenged.

On one hand, it is the mass in thin layers, running in a meander-like closed movement. On the other hand it is the empty space, air and light forming volumes, described by the contours of the mass. The construction is really made of the absent; the emptiness and the holes of air. The obvious body just defines the volume.

My fascination is about the relationship between internal and external realities; the dualism between inside and outside, content and form, feeling and shape, impression and expression. It is a reflection of my inner landscapes of form. Everyday, I experience the tension between presence and absence. My sculptures show me the necessity of opposites; they are paradoxes. Bodies where presence and absence meet.

The ceramic sculptures are unique and made of mainly stoneware clay. The process is based on hand-building and I work on each piece during an extended period of time. The shape grows gradually and I have time to reflect. I can change direction, make connections and have a smooth surface with the same thickness. When the form is ready and the clay is dry, I sand away at the surface. The pieces are fired twice and finally treated with various paints and pigments.
The metal sculptures are casted in bronze or aluminum and either patinated or painted on the surface.
Besides the ceramic and metal I work in a variety of materials, like concrete, plastics and glass.

Eva Hild lives and works in the south-west of Sweden.
With her organic sculptures she has established a position on the international art scene and is represented in important private and institutional collections world-wide. Her art has met with a profound fascination at the way in which she expresses body and space, strength and fragility, presence and absence.