AS IF EVERYTHING VANISHED, PART 1  (2018)
pigmented acrylic resin, styrofoam, pencil, ink, wood, 83.5x91x20 cm

 

THE NOTHINGNESS AND THE SHAME, PART 1 (2018)
pigmented acrylic resin, acrylic, pencil, wood, 32.5x25x3 cm

 

AND EVERYTHING UNFOLDED (detail) (2018)
pigmented plaster, styrofoam, acrylic resin, burlap, textile, wood, rubber mat, 130x62x30 cm

 

TRYING/HIDING (3) (2018)
styrofoam, cheesecloth, plaster, acrylic, print on polyester, pencil, 171x86x27 cm

 

 

IT’S STILL THERE (2017)
installation view UtrechtDownUnder / i.a. latex, plaster, acrylic, textile, bucket, drawings, clothes hanger

UtrechtDownUnder shows contemporary art in the historical wharf cellars in Utrecht. In the bedroom I had at my disposal for the exhibition, I used the intimacy and domesticity of the location as the guiding principles for my installation. The bed forms the heart of the work, as a carrier for our body during birth, dreams, intimacy, sickness and death.

 

 

 

THE LITTLE BITS OF NOTHINGNESS AND THE ALL (2017)
exhibition ‘Humble’, Garage Rotterdam | photo by Bas Czerwinski

“When Eva Spierenburg's mother died, she developed a fascination for the dying body. Humility only exists when there is no longer any identity, no longer an ego. Dying can also be seen as a form of humility, a no-man's-land between presence and absence.” (catalogue text by Lieneke Hulshof)


 

 

DADDUCKDEAD (2016)
video projection | 4.56 min
link: https://youtu.be/djrsVpLGAps

The video ‘dadduckdead’ is a re-enactment of a dream I had. In the dream, my father took a duck from a pond to eat for lunch. He ate it from the beak down, as I do in the video. Strangely, it wasn't a bloody experience at all. Instead, it made a very specific crunchy sound. I recreated the sound by eating a duck made from plaster.

 

 

 

THE BODY AND THE GROUND (details) 2016
installation view RijksakademieOPEN / i.a. terracotta clay solution, styrofoam, textile, plaster, acrylic, plastic, expoxy

“Her work strikes as being religious, without depicting religious imagery. On the contrary: the carnal human body is ever present, especially the female body. Pink carpets made of latex, sculptures shaped like an vagina and coiling painted body parts.” (text by Mister Motley, 'religion at the Rijksakademie', translated from Dutch)

 

 

THE HEAD AND THE GROUND (2016)
video installation / screen 22”, styrofoam, plaster and acrylic / video loop 10.42 min

 

THE BEGINNING AND THE REST (2015)
installation view RijksakademieOPEN / i.a. styrofoam, plaster, clay, wood, acrylic, paper, textile

'The beginning and the rest’ constitutes a kind of archeological site of the Garden of Eden. It doesn’t offer an experience of Paradise though. Digging deep into genesis stories and images, I found death, vulnerability and ancestral remains. Meanwhile I explored my personal relationship to the transient body, to the mother and the father, to female and male.


 

RECREATING MY MOTHER, ATTEMPT 4 (2015)
video projection, 47.35 min
short version: https://youtu.be/aKZwAoMO_5M , or the full version: https://youtu.be/2IJphX38EHM

“...Once the clay legs are formed, Spierenburg places her left hand underneath the upper half of the figure again as a supporting gesture. Her other hand slowly moves around the figure; touching it gently, pausing and lingering at certain moments, before picking it up and cradling it, momentarily rocking it back and forth with a loving tenderness. As the figure’s legs hang down resembling the floppy legs of a tired child, there is a melancholic sense that the artist fully bears the weight of her mother’s ghost.” (text by Celia Graham Dixon)


 

 
   
video link: https://youtu.be/InKxQs2_SKU

HE IS ACTUALLY ME (detail and video still) 2014/15
series of 19 painted photos and a video / dimensions variable

“In the series ‘he is actually me’ Spierenburg dresses herself up as a man, wearing a beard made of her own hair. In this new role she re-enacts all the men in her paintings from 2014 in order to explore to what extent she has painted a male alter ego for herself.” (text by Edo Dijksterhuis)



 

 
     
NOW YOU MAY SUFFER (9) (2013)
acrylic and pencil on page from a bird encyclopaedia 28x21,3 cm
 
NOW YOU MAY SUFFER (16) (2013)
acrylic and pencil on page from a bird encyclopaedia 26,8x23 cm

Now you may suffer’ is a series of 29 small works on paper. In the series, photos from an old bird encyclopaedia are transformed into Adam and Eve:
“So this is the moment. The timid swallows become Adam and Eve. Arms arise from the hunched shoulders, with hands covering up the pubic area. A human mask replaces the bird head. With a pair of bare legs they are ready. Ready to take over the guilt and suffering of all humanity. Ready to sin eagerly. Ready to sink into the earth from shame. Ready to die.”

 


 


my work is kindly supported by the Mondriaan Fund