EVA HILD / ENTITY
In the fairy tale “Alice in Wonderland”, English author Lewis Carroll (1832-1898) describes seven-year-old Alice falling into a rabbit hole many kilometres deep. The same breath-taking feeling that Alice of the fairy tale must have felt can be experienced when seeing Eva Hild’s magical sculptures with their seemingly endless depths, entry points and variations.
With the sensibility of a hand, she steers our gaze towards a dizzying journey through inner and outer spaces. Spaces where she, with the special properties of clay, can create new and unknown worlds. During the journey, we become aware that we, as spectators, are experiencing something as rare as the empty spaces – the non-tangible – just as tangible as the material of the sculpture. Whether it is made from stoneware clay, aluminium or bronze. The balance between the non-tangible and tangible is somewhat of a hallmark of Eva Hild’s, one that makes her one the greatest contemporary sculptors.
Eva Hild, born in Lidköping in 1966 but today residing in Sparsör north of Borås, trained at HDK School of design and art in Gothenburg from 1991-1998. Early on, she was certain that three-dimensional form was her expression of choice and she was quickly considered one of Sweden’s foremost young ceramicists. However, it was American Nancy Margolis Gallery in New York that established Eva Hild as a global name on the world stage.
In 2007, New York Times’ influential art critic Roberta Smith praised Eva Hild’s ceramic masterpieces and it wasn’t long before Hild’s typical white stoneware sculptures became a regular feature when Architectural Digest presented celebrities’ homes from New York to Hollywood. Eva Hild was also acknowledged by renowned sculptor colleagues and her works are represented in both Tony Cragg’s and Antony Gormley’s private collections.
After close to 100 solo and group exhibition across the world, Eva Hild decided to try taking on the public space. Wholly (2010) – a four metre tall aluminium sculpture – at the Borås town square was her breakthrough. Other recognised outdoor sculptures include Binär (2012) outside the Government Offices in Stockholm, Bulb (2015) outside Kungälv’s municipal offices and the, to say the least, spectacular Rubato (2015) – a six metre tall, aluminium sculpture painted white – outside the concert house at Malmö Live in central Malmö.
– I am fascinated by the relation between the inner and outer reality, content and form, impression and expression. The void is as much part of the sculpture as the solid matter. Bodies where absence and presence meet. I examine the state of affairs – openings, movements and complex structures. Through a slow working process, I allow thoughts and words to be transformed into a material.
Strandverket Art Museum’s retrospective exhibition, ambiguously named ENTITY, showcases about 15 larger works that cover Eva Hild’s entire oeuvre of drawings and sculptures in stoneware clay, aluminium and bronze. ENTITY – which can be seen as a “mid-career” exhibition is simultaneously one of Eva Hild’s largest solo exhibitions.
Strandverket is immensely grateful to have had the opportunity to work with Eva Hild to realise the ENTITY exhibition and make it into the great experience it has become. We are also proud to, just like Nationalmuseum in Stockholm, Röhsska in Gothenburg, Museum of Fine Arts in Boston, Museum of Arts and Design in New York, Sévres Ceramics Museum in Paris and Museum of Modern Ceramic Art in Japan, be the owner of an authentic Eva Hild – Irruption (2014) a triumph in its own majesty on the forecourt of Strandverket.
Strandverket Art Museum