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The grid, particularly the imperfect one, shows up in countless iterations of Eva’s work (not one the same as the next). Perhaps the most universal of all patterns, it hints at the idea of decoration and mark-making in the most essential of ways. Also in the grid, like a chess board or tile floor, there are two teams existing on the same networked surface, portraying the concept of duality as a code.

In her marks and through sculpture, Eva brings forward a sense of naivete and wisdom, (that which we often come to envy in our past selves) allowing her to generate forms that are two-spirited in many ways. Like feeling the warm pavement on a summer night, or low base vibrations from a concert speaker, her large clay sculptures and vessels feel very grounded and connected with the body. This is a deep intention of Eva’s work--to reflect the scale and reach of her body and selfhood as the artist. She also believes that people in a community can be important mirrors for one another. In this way art encourages us to talk about the impact we have on each other, also, accountability. Accountability not as it is so often referred to as a synonym of punishment but as a reverberating process for people that trust each other to be influenced by each other and to accept the that you have been a source of help to others but also a source of harm.

Brave and curious, informal and introspective all describe the paintings and vessels in Eva Conrad’s upcoming show, titled, If the grid repeats. This partial riddle reflects the visual language of an artist working with one hand in painting the other in clay. A dual-sensibility runs across the glazed and assembled surfaces suggesting a simultaneous appreciation for the status of ceremonial objects put in direct relation to materials that are used, weathered, and worn. The playful interaction between vessels, paintings and site specific displays characterizes this exhibition of works made over a time period greatly influenced by the global pandemic.

“ I have discovered a lot of my truths through playing with color and form, and the mediums of clay and paint feel deeply attune to my body.” -Eva Conrad

 in the grid, like a chess board or tile floor, there are two teams existing on the same networked surface, portraying the concept of duality as a code.

In her marks and through sculpture, Eva brings forward a sense of naivete and wisdom, (that which we often come to envy in our past selves) allowing her to generate forms that are two-spirited in many ways. Like feeling the warm pavement on a summer night, or low base vibrations from a concert speaker, her large clay sculptures and vessels feel very grounded and connected with the body. This is a deep intention of Eva’s work--to reflect the scale and reach of her body and selfhood as the artist. She also believes that people in a community can be important mirrors for one another. In this way art encourages us to talk about the impact we have on each other, also, accountability. Accountability not as it is so often referred to as a synonym of punishment but as a reverberating process for people that trust each other to be influenced by each other and to accept the that you have been a source of help to others but also a source of harm.

Brave and curious, informal and introspective all describe the paintings and vessels in Eva Conrad’s upcoming show, titled, If the grid repeats. This partial riddle reflects the visual language of an artist working with one hand in painting the other in clay. A dual-sensibility runs across the glazed and assembled surfaces suggesting a simultaneous appreciation for the status of ceremonial objects put in direct relation to materials that are used, weathered, and worn. The playful interaction between vessels, paintings and site specific displays characterizes this exhibition of works made over a time period greatly influenced by the global pandemic.

“ I have discovered a lot of my truths through playing with color and form, and the mediums of clay and paint feel deeply attune to my body.” -Eva Conrad
The alchemist, the miner, and the gardener are all at work in this exhibition, casting a multifaceted vision that is veiled and primordial. This exhibition taps into the bewildering feelings of experiencing the mind and body moving through space and time." -Jessie Rommelt, Creative Director, Bunker Projects

he grid, particularly the imperfect one, shows up in countless iterations of Eva’s work (not one the same as the next). Perhaps the most universal of all patterns, it hints at the idea of decoration and mark-making in the most essential of ways. Also

AUGUST 2022

Exhibition

If the Grid Repeats

additional show images