Maurice Rufin

Le directeur de l’Institut Français Azerbaïdjan,

(Attaché culturel à l’ambassade de France).


Eva came of age as an author in an era when the romantic period of postmodernism with its condescending, ironic, parodic view of reality gave way to total control over the artist and the ultimate immersion of society into virtual reality. The mankind as a whole and every individual lost the connection with their spiritual origins; this triggered the rush toward an outer multitude of forms. Visual multiplicity replaced the static. As René Guénon said, hitherto a realm of quality, the world has become a realm of quantity. In her ‘Truth About Lies’ project, Eva uses the expressive means of today’s postmodernism, thus exploring the mental aspects of her time. The author’s reality is plastic, fluid and defies fixation. In an unstable space, any truths or values are relative and illusory, and any conclusions are preliminary. Everything is in a process that will not and cannot have a result. In the context of general disequilibrium, fragmentation and disorientation, only art can bridge the gap between human will and the eventual, ‘open’, free universe continuously formed under the influence of an artist. Eva emphasizes the corporeal basis of what is happening, which limits cognition and gives rise to countless simulacra. They, in turn, serve as starting material for emerging ideas filling the project.


Eva considers video the pinnacle of modern art evolution, a kind of maths that generates universal formulas giving a clue to knowing the world around us, the cosmos and even what is outside of Creation and even the God’s Design. This view is fully justified given that technological progress is primarily associated with rapid development of electronics and digital technologies. Form that turns into a formula becomes for Eva an expression of quintessence, marrowbone, gist of any idea. For her, video is above all the most perfect and ideal way to comprehend art and the subsequent transfer of information. If you look closely at the developing storyline of the ‘Truth About Lies’ project, shadows of different cultural layers and philosophical concepts are discernable. However, the postmodernist mental outlook of the author dictates her choice: Eva selects techniques that allow for the most complete disclosure of the most pressing issues of modern existence. After all, for a scientist or an artist, the experience of past generations is primarily a working material allowing to leave evidence of what is happening before their eyes. To master the methodology for creating symbols that explain the structure of modern world order is only possible through the rethinking of all the artifacts from the today’s point of view.


Producing videos rich with meanings, Eva demonstrates the utopia of ideal relationship between an artist and postmodern society. The richer is the inner cosmos of an author, the less is his or her dependence on authorities. A wide range of expressive means and dense author’s interpretations allow for creating a reality of any complexity. However, in the world dissected by Eva, any freedoms and autonomies of consciousness are as illusory and relative as anything else. If the whole complexity of being exists within an individual, the latter perceives any non-ego as a fruit of his imagination. In a narcissistic cosmos, the unity of all and sundry is impossible. In the project, the topic of lostness, abandonment, spiritual loneliness, impending doom, and godlessness rings over and over. Lack of ways of communication between subjects of being is echoed in a number of images: puppets, wanderings in confined spaces, conveyors with broken chicken broilers, tunnels, and black holes. Just as people who have depleted their imagination by chasing phantoms and satisfying their ambitions, Eva’s symbols are left to themselves and exist in a metaphysically simplified world, devoid of subtleties and nuances of perception. All the diversity of being was driven into the realm of eventuality. In such an environment, any hypothetical character would not have the heart to imagine himself a God’s likeness.


In fact, Eva documents the process of desacralization — transformation of once living categories into phantom simulacra. Harmony turns into chaos. Emotions turn into instincts. Ideals turn into clichés. Even the constantly narrowing choice of temptations leaves no room for enjoyment. As a result, a contradiction arises between outer abundance and inner emptiness.


On the other hand, exposing the world of lies, Eva proposes to engage in the search for an alternative to illuso-y reality. In her stories, a second, irrational level can be distinctly traced. Despite everything, even in a rational society of a play, one retains his sensual, intuitive characteristics: faith, intuition, insight, and enlightenment. They allow us to raise global issues — in particular, the one of the possibility of spirituality in the postmodern era. Eve shows us the life of an anthill against the background of cosmic spaces. Thus, she gives us a chance to fling open a window to the absolute, to escape from the vanity of space-time and to join the transcendent sense of being. Wild rollercoaster ride symbolizes the dangers associated with attempts at transgression, i.e. violation of limits set by the society and transformation of an individual. Eva shows that even in our pragmatic era, human consciousness is confronted with displays of the irrational, the ‘incomprehensible.’ With something that cannot be ignored. And then, objectified, corporeal experiences give way to spiritual efforts. Once aware of his taste for transgression, one can no longer return to a two-dimensional state. And any flights beyond the limits of the natural can only be accomplished by joining all the intellectual and emotional capabilities of an individual. Actually, the concentration of all the abilities, all the best a person has to offer can be considered a modern manifestation of spirituality.


MAURICE RUFIN


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