Eva Rothschild has achieved international acclaim for her practice which involves both conceptual and socio-political ideas alongside traditional approaches to making sculpture.
For more than ten years Rothschild has investigated concepts of form and materiality in sculptural works that use leather, wood, Perspex and, occasionally, surprising objects such as incense sticks and used tyres. Such materials often appear to transcend their physical limitations, hovering between representation, symbolism and actual form. By deliberately destabilising physical and visual characteristics in her work, Rothschild not only questions the aesthetics of art, in particular minimalism, but also those of belief in social liberation and spiritual movements.
Works make use of both wall based and 3D pieces that can be exhibited on plinths or floor based - this shows how versatile the curation can be - allowing groups of works to form installations.
It could be useful to consider how my own work could form installation when bringing multiple pieces together - this can change the narrative of the work - if works are no longer just wall based but connected in more of a continuous narrative.
Her work bridges drawing and sculpture - with very organic as well as geometric forms - this is a good reference for how I approach my own drawing and seeing how these can be transferred into sculpture.
Alpine
2022
resin plaster, stainless steel, gesso
213 x 81 x 84 cm
Use of pastel colour schemes allow the pieces to become very gentle, almost childish. Objects can almost look edible due to the colouring - or appearing very soft when they are using strong, hard materials.
Reunion
2022
lacquered and glazed ceramic with steel, jesmonite plinth
168 x 44 x 32 cm
Consolation
2021
wax resist, dyed waxed calico
225 x 160 x 2.5 cm
Cosmos
2018
spray painted aluminium
350 x 370 x 340 cm
good as a reference for the public arts project
Drift
2019
concrete, steel, synthetic polymer paint
600 x 300 x 165 cm
more installation based - floor based sculptures that create an environment
Hazard
2018
concrete, steel, synthetic polymer paint
163.5 x 625.5 x 30.0 cm
interesting to see the difference of the piece being in public outdoor space and when sat in a white cube gallery setting - work appears harsher in the gallery - somehow softer outdoors - how the incorporation of green spaces and nature can soften the sculpture. It also looks more civic - as if it has some kind of function - whether as a play thing, a stand, seating etc.
Bold Europa
2017
jesmonite, fibreglass
300 x 170 x 3 cm
the colour adds more of a childish playful sense
the shape relates more to architectural supports - appears part of a building
also appears to be part of a series of works - but with different colours - shows the importance of how colour can change the reception of the artwork
Glimpse II
2016
Jezmonite, fibre glass, steel, spray paint
42 x 26.5 x 3 cm
more painterly sculpture - this is also furthered by it being wall based but also the inclusion of spray paint (this also links to more urban aesthetics.
Ruins
2016
jesmonite, resin, spray paint
360 x 205 x 130 cm
References:
https://www.evarothschild.com/
https://www.creativeboom.com/news/artist-and-sculptor-eva-rothschild-to-unveil-exciting-new-work-at-modern-art-london/
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