Eva Nielsen — Walden — Dominique Fiat Gallery — Exhibition — Slash Paris

Past: October 15 → November 26, 2011

Dominique Fiat presents the second solo show by Eva Nielsen (born in 1983). Her recent works opened a new space in the pictorial field. Simultaneously inner and outer, this space is the one generated by the repetition of the same within diptyches Silo, Nod and Field. It is the one that, after the gaps of the previous paintings and drawings — showed for the first time —, generates a real breakaway, arisen from the introduction of a “blank” within the picture. It is the one that, filtering our perception, conscious of the simulacrum, embraces in the same movement the reality and the medium that represents it. A reality where monolithic structures, standing in the heart of desert zones, come to settle next to the previously painted children’s games. Then, a new space and another architecture become elements whereby our glance works. Then gets lost, in these circular and impressive forms: Babel where the repetition of the same is not anymore represented but carried entirely by the subject.

This new space, it is also the one of Walden by Henry David Thoreau (1854). By “silkscreen processing” Caspar David Friedrich or Andrew Wyeth’s works in her mind, Eva Nielsen made this narrative of an aside space, both inner and real, one of the matrices of her new paintings. The meticulous observation of the nature and the connections between urban and natural forces proposed by Walden — the contemporary outer-urban landscape constitutes her privileged field of observation — is added to the fight between the painted space and the unpainted space: the silkscreen comes to invade the picture, the space ruins its autonomy. This space finally, it is the blurred one of Ellis Island (1) and (2). In this evocation of another singular, intermediate space, the abstract cloud proliferates on a representation which disappears, modifying the connections between plans, scales and techniques, making of these paintings the details of Babel.

Eva Nielsen’s work allowed itself another action : to blur the forms, the representation as the presentation linearity. And that, thanks to the introduction of renewed “ visual tools “ which, in association with those elaborated for several years, allows her to continue on her way in painting.