Eva, your large-scale sculptures often have a sensual, voluptuous quality to them, while others can seem almost grotesque. Is desire an important part of making pieces that evoke these emotions?
Definitely. That’s the first part of how and why I want to work with certain materials, there’s a desire, there’s a fascination, there’s attraction, but sometimes there’s also repulsion, an ambiguity. And then when my sculptures are in an exhibition, you maybe feel this sense that you want to touch them, but you’re not allowed; so your desire is left unsatisfied. It creates this interesting dynamic, and I love to think about how we engage with our desires, even ones that are perverse. For example, Freud referred to childhood sexuality as “polymorphously perverse.” Those desires are still unformed, without a specific object, therefore flowing in every direction. This is how I’d like to think of my work.
In what sense?
It’s a space for playfulness. The challenge is not to think of play as something naive, but rather as this wild, raw, misbehaving creative energy that is full of potential. I’m very playful when I work in the studio, I have fun, I mix materials, I play.