EV VAN HETTMER
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Rijksakademie Amsterdam Residency questionaire, WORK GOALS:💬️








Please describe the form and content of your work, and the ideas and interests surrounding your work.

Formaly I want to expand my painting production as well as I want to focus on my three dimensional work. Thematically I direct these works on a continuous approach that I already started with my “Reiki healer series”. The last project “AboutFreedom and Love/About the wife of the reiki healer that lives next door” is focused on a play with symbolic of banal and mainstream objects, as being subjectivitiesed in order to create an open view on privacy and intimate zone. In this project I discuss form of relationships within society and its created boundaries. I try to answer simple question “When the love needs to be stopped?” Love as a phenomenon of survival instincts is a base need, that needs to be fulfilled every day. There is no difference in love from other need, however it can be within society putted on pedestal. 

However love is assumed to be a good thing, why then there are so many people hurt or destroyed by love? Do we perceive love as a weakness? How can we live each next to each other and do not deploy oversells according to natural superiority? …was nature wrong when created this instinct?
I like how this instinctive phenomena became a cultural issue, influenced many historical events and the contradictory tension that this power attracts to itself still creates questions to be answered in a contemporary culture of nowadays. As I suggested in a text of my diploma work, my attention turns to the criticality of the art practise itself. As I reevaluate my personal experiences within the professional field, I like to question the values of art works and practise that have been yesterday in order to come up with continuous ideas of future. Re-invention have been one of the main goals of my artistic practise. Therefore I must question the cliche of “sad” and “stressed” artist in order to make good artwork. As I believe that the joy that comes with a practise is in a contradiction of an idea of a suffering artist, I put the core meanings of the art into the discussion. Bringing the joy into the practise makes the brain free from worrying, free from thinking. The hormones influence seeing the reality, brain starts to forget, its turned of. It is a body experience. The bodily experience of joy brings us from forgetting to bare new fresh idea. The new day. Is that what is the next step in art to experience the experience learn from the experience to forget…..in order to…experience?
We are keen to support artists who are at a turning point in their practice. Please describe why this is an important moment for you to undertake a residency at the Rijksakademie.

With such a support that Rijskakademie provides for residents within their academical institution, my work can meet the precise focus and freedom needed for creating an expansive art production. The contact network that can be build thanks to this residency will direct my production to the professional growth. As a person of inventional interest I like to live in other places. I have never lived in Amsterdam and it gives me the creative opportunity of an untouched territory.


We value an engaged artistic community. Please indicate how you would commit to (critical) dialogue and what you would bring to the artistic community at the Rijksakademie.

A criticality of my interest I describe in the first paragraph. I want to organise artist talks in a forms of meditations classes at (a late) breakfasts hour, where we can meditate on  and rediscussed this topic in a form of common reading followed by a meditation. It is my experiment on how to engaged subconscious mind into a critical dialog in order for seeking “new”truth.


 




NEWS!!!





“About Freedom and Love / About the wife of the reiki healer, that lives next door”




Handout text:
About Freedom and Love / About the wife of the reiki healer, that lives next door, 2019-2020
Acrylic and oil on canvas, mixed media
Different dimensions
Courtesy of the artist

Ev presents an installation of large-scale acrylic/oil on canvas paintings that form an epic story telling across the gallery’s space. Continuing the artist’s investigations into the motives of decoration, design, authenticity,and female empowerment, the works on view assess methods of seeking for good feelings and motivation for reaching life goals and dreams. The paintings from these serie present new approach on understanding of the medium, called“swipe-painting”TM. Curtains-painted repetition is key to the maintenance of a pictoral space and is central to the artist’s process. Within fields of nudes, browns, pinks, and metallic, Ev frequently figures out a structure, composition, and forms over and over again. Each painting in“AboutFreedom and Love / About the wife of the reiki healer, that lives next door”features highly loosely painted figures or objects set amidst in two or more painterly devided parts and lush color. She creates a pictorial space to emphasize motion flowing of a“swipe”movement by being influenced as a user by her favourite cell-phone. In and around observing the small nuances of a change while browsing a picture gallery creates an environment for a constant reflection and fulfils the atmosphere with emotions and hope. (longer Text, 2436 signs) Ev presents an installation of large-scale acrylic/oil on canvas paintings that form an epic story telling across the gallery’s space. Continuing the artist’s investigations into the motives of decoration, design, authenticity,and female empowerment, the works on view assess methods of seeking for good feelings and motivation for reaching life goals and dreams. The paintings from these serie present new approach on understanding of the medium, called“swipe-painting”TM. Curtains-painted repetition is key to the maintenance of a pictoral space and is central to the artist’s process. Within fields of nudes, browns, pinks, and metallic, Ev frequently figures out a structure, composition, and forms over and over again. Each painting in“AboutFreedom and Love / About the wife of the reiki healer, that lives next door”features highly loosely painted figures or objects set amidst in two or more painterly devided parts and lush color. She creates a pictorial space to emphasize motion flowing of a“swipe”movement by being influenced as a user by her favourite cell-phone. In and around observing the small nuances of a change while browsing a picture gallery creates an environment for a constant reflection and fulfils the atmosphere with emotions and hope. As the narrative in the large canvases unfolds, Ev uses a plot of a heterosexual marriage instituition, however self-never-married-before, as a way to express a desire for continuity of a mental and emotional self-care. Referring to questions of how a potential life-long @slash soulmate partnership should function for her like, she undercovers a deep desire for the moments of sharing.“Thereis something so incredibly cosmically magical about curtains,” said the film director David Lynch in a recent interview,“openingand revealing a new world. It resonates on a deep level with people.” Referencing inspiration from the visual environments of authenticity to Terry Richardson, absurdity to David Lynch, excitment about symbolism of painted composition and perspectivity to David Hockney and the conflicts of post-modernity on“Whatis art today?” and“Whois making art today?” to Rose Wylie, Katherine Bernhardt or Philip Guston considers the positive emotions as a goal for the body of work of the artist in order to overcome/survive carrier challenges and contemplating the presence as a a main motivation. Using a lens of hip @slash mainstream themes as chakra or reiki, Ev creates a visual storyline to contemplate the fun for present.

Diploma presentation text:
I.               Introduction:
In the beginning of the presentation of my diploma work, I want to shortly talk about what stands behind the theoretical and practical focus of my diploma work. When I go back in time few years ago, it is a personal story about my own search for a goal of my art practise during my art studies. 7 years ago I have found myself between two art studies, one halfway finished with my bachelor diploma after 4 years of the studying at the Academy of Fine arts in Bratislava and one that was just beginning here in Vienna and I was not really sure what was contemporary about art and painting today anymore. As I was trying to reframe my questioning, I could not resist the feeling, that I am not actually feeling contemporainity of the art or find a logical reason, that would support my believe in the importance of art and painting. For me in order to “move the mountains” and embody an artistic idea into a practical production with a result at the end, I need to articulate the feeling of a knowledge of what the actual feeling is. So I guess the problem for me was not the subjects of “what I should do?” (the aim), but I was rather missing a bigger part of the picture “why am I doing it?”. I recognized I was missing a motivation. The thing I was missing was not the general not a particular problem in theory that would disturb me. It was my own practise, that made me wrinkles on my forehead. I was still enjoying doing art and to paint, but I always felt the disturbance to frame my work within theme to some art theory, within instituition and within the context. I could not find a reasonable challenge within the theory that would allow me to feel what I was struggling with, and that time I was even unable to call it out and name the problem.  In that moment I was starving for a new beginning and understand of how theory of art works for me. With the time going on I have found out, that there is so much theory, and so much art noise that one can easily forget the first motivation in the process. Is there place for an inspiration, spontaneity, an art, when we are surrounded with so much academics, structures, hierarchies, instituitions, books, etc. that tells us what the art is and what the art is not. The reason “why” is attacked under a heaviness of the knowledge and lost in the translation of a chaos with a questions “what and which theory”. It can be very seductive to mislead or cheat the process and choose easy way out it and snap out of the theory, by ignoring it. But would there be any iPod ever if Steve Jobs didn’t know a Discman before? Hardly!

With the intention to get onto the highway of the artistic creation, I want the aim of my research to be to question again the importance of the contemporary art. I want to focus the flow of my work on reconnecting with the core power of the creation: intuition, follow it and in the end name what makes the art contemporary art and what makes a contemporary painting vivid art. As a helping tool and my navigation I include these  core questions that have lead me on my journey:



What is a drive that makes painting still alive today for the art world and as well as for me?



What is that exact ingredient, and if there is still any, that makes from a painting not an art, as a tool of academics, but rather a necessity, a drill and an energie of a need for an expression…?



How to accept academic backround and still remain self and authentic by a such strong influence of authorities?



How does it feel to work on a contemporary painting?



What does it make contemporary to paint a figurative painting?



How does the painted symbols change or work now?



What still works for the figurative painting and what does not anymore?



What are the most important and significant visual signs of the contemporary painting?



What defines a pictorial space of the contemporary figurative painting? How does the symbolistic works? Is there some canon of beauty?



How can the theme support a vision of a contemporary painting, or does it even relates to it?





II. Methods and materials: [Work it, fake it until you make it, loose it, do it, feel it, free it.]

Collecting pictures, outside inspiration, surrounding myself with pictures, movies, moods, architectural magazines, style magazines, design, music, books and colours.

For my diploma work I have produced a large-scaled serie of the paintings called under one title “About Freedom and Love/About the wife of the reiki healer, that lives next door”, each painting has its own name, that is listed underneath this text as well as enclosed at the room plan. Most of them are dimension of 140 x 160 cm or 140 x 120 cm, some of them are meant as one format made of two or four paintings, but especially this ones should also work separately. But that is not also a rule. The rule is that there is a rule and broken rule of manipilating with canvases.

The paintings are mostly provided with acrylic colours with the exception of three formats. There is any special code or a reason why I switched the medium, only the timeframe I produced them. The oils are produced in summer and early autumn, acrylics are created in winter. The reason of switching is more of a technical issue, I needed to speed up the process and some paintings that are technically painted on the canvas must have been produced with acrylic in order not to damage the canvas in the future. I personally do not mind and that do not disturb me, switching the media during the process or as the exhibited pieces. It personally brings me more joy than troubles, so I preferred to enhance both of the mediums into my selection.

The key of how I navigate myself at the canvas are the exact characters I want to embody. To these I came mostly accidently. Visualised chosen subjects are objects found outside, mostly accidently. This decision to pick by the accident “met” objects was matter of real time I was able to provide for my research. Actually there was not that much of a time, so I have made a practical decision to pick objects I find enough stimulating for my artistic process in order to finish artworks and be able to provide a full story. I had a structure in my head, that I want to investigate a theme of intimacy, relationships, energy, attention and power. Afterwards picking up of the symbols was very easy and intuitive process of choosing what I liked and enjoyed more than 5 minutes, the information that vibed. In the end of the process a choice to employ my intuition and spontaneousity was the right one, because I felt a source of an inspiration, joy and connection to my artworks during the process of painting. And the new sources and ideas has been ever since been coming to me, noticing not to be tiring or exhausting me by too much overthinking as I used to be. Picking up a theme of my interest with the core in moods and emotions, helped me to navigte a colourfull palatte and mixing. I wanted to use humor in expressing sharing of a power and influence in relationships in general. Therefore the idea was not only to talk about a female energy but as well epmly the male part of it, as I was inderectly talking about her as “a wife of somebody” to point out a structure and hierarchy in the society. By using fashionable tendencies and influence of fashionable cultural trends as spiritual practices I wanted to drag more of a timeframe momentum of a contemporary hip tendencies of a western culture nowadays and dealing with realites to which we are practically born or draged.



Origin of concrete symbols I use come from my personal interest in humor, design, fashion, pop culture, music and movies. I have always been a big fan of a fashion and design, I like and enjoy how the both blends with art an vice versa. I also used to study textile design and am influenced by textiles, colours and narrow patterns. For me it was always very playful, however I chose to fine art. I consider a design as fresh cultural component and therefore I become influenced by it in my painting practise.

The central theme of my artistic expression became a form of a curtain and its repetition. With this subject I build up a groundfloor, I use its repetition, to create a certain form of a pattern, design at the canvas. I do not mind that the repetition might not follow any logical principle of composition or perspective. I do it very loosely and spontaneously. I use my intuitive feeling of where it would fit or create a private sphere. The curtain here as a symbol works like an interpretation of intimacy and intimity. The structure and composition of the visualized object is very loose and free. They influence each other and work with each other, in other not to make a perfect sense, but rather poetically tell a story and point out a generall mood, rhythm and fun on the painting. The goal was not to make perfect painting, the goal was to create a vivid and authentic atmosphere out of the chaos. Spontaneity, emotion and the momental decision making was the core power for finishing these canvases. Even by making it (probably) wrong or bad is a potential for an successful artwork, as a moment of failure is the biggest game starter in any field of rise. In the perfect world with a perfect people, there is anything to experience, explore, learn, do or enjoy.



III. Results: Swipe painting, loose painting, material result: thematic, energy/drive: intuition, joy
In order to follow also my inspirational process I followed my intuition by finding elements in the outside environment. I used my phone camera a lot to make visual notes. I always surround myself with pictures, sometimes I am staring at them over and over again and inhale the atmosphere from the photos. Photographical and cinema experience represents one of the key inspiration for my painitng. Thematicly I went for a personal themes that irritates me. I like to pick up mainstream or a routine themes. I like when my work can understand or identify with a wider audience.



-       Talk about why you picked your theme.



Well, thanks to research and actual work on my diploma artworks I didn’t figured out on how much love is healthy for me to give or how much of my attention, energy and time I am able to provide to my partner maybe future kids in my life in order all of us stay healthy; during the working process I have visited one workshop on relationships where I learned that disappoitnemnt is part of love and loving somebody and that the love also in a certain point ends. I do not know whether this is general conclusion for love life or and idea I give up on someday, but at least I realized I can work with more plans on the canvas and develop, by me called “swipe-paintings” which is I think, for now enough.

Swipe-painting refers to the swimging movement of the finger on the touch-screen. “Swipe” movement is by Apple patentent movement that describes your finger work while going through the pictures in your photo gallery in the smart phone. By me picked term “swipe-painting” I mean a canvas divided into one or more sections by a simple stroke of the brush from up to down. It is a line that divides two or more pictorial spaces and separates them. This pictorial space doesn’t necesserily need to co-work with a logical order with each other, however I do not argue I even suggest their influencing each other. With this gesture I refer to my own personal process of how I gain mood inspiration for my paintings and technically what comes out of it. Materialistically I refer to the space in between two photos, when you swipe in the photo gallery of a smart phone. For me it is a symboligical space for another interpretation that comes from a two photos being accidently follow each other. It can also refer to the collage or collection. (Gilbert and Goerge)



IV. Discussion: Why am I doing painting? What does it mean “contemporary painting for me”? What is contemporary about painting today?
In this large-scale formats I talk not only about the message I wanted to transform through this artwok, I talk also about what I think about the position of the paintings as a tool of the contemporary art. Why do I remain faintfull to it, and my work represents also my believe that painting still remain important for the contemporary art. To answer these questions was very important through my study, as I was/am imploying also othe media and approaches in my art. Some of you can maybe remember the air matrace installation, that was overlapping room 116 during the Rundgang or my sculpture of vaginal chocolate fountain I have showed in xhibit during our exhibition Transmannerist approaches. I had a luck and I have answered simply to my question, why I remain faithfull to the painting with my diplom work. Work on air matraces and fountain were super fun for me to be occupied with, and painting as I was painting was as well a super fun I have enjoyed during the process. So that is the main reason I did this work.

The answer may be simple and easy, but it was quite a time and took a few of my muscles to accept and get aligned with such a simple answer, that would stand the heaviness of the art world and the history of art, and as a key answer remain good enough at least for myself, and I hope at least for one of you if not all of you.

So as my answer my simple sound to you, that sweet or easy my artworks may look for you. It is not my immaturity that you may find within them, however naivität is also one of the themes culminating in this room. An open process that should be remarkable and present within the work is one of the key words I would employ in this discussion. Authenticity, spontaneousity, punk, failure, moodiness, emotions, unfinishnesness, exploration, experiment, inspiration, loosyness, drive, movement, movies, capricorness.



On unfinishness and failure:
I employ spontanuousity and unfinishness as a symbol of the playfulness and vividness. Consistency lies within unconsistent/unfinished or unreadiness of the painting. Unreadyness grasp the spirit of the authentic and vivid. Truthfull and courageous. However displaying the theme of a naivität or vulnebularity may be uncovering or outragous, in a way it is an act of a courage. Through the thematical exploration of naivität, vulneralabity or softness I seek to grasp the universal wisdom. Within the weakness lies our capability to find our fiercesness. This approach I want to embody in the message of this artworks. They should be naïve, soft, crazy and any other tag you can find, they are also human. It is human to be weak and it is human to try to look for a way out of it.



Grasping the painting process and the experience from the painting:
So the unconsistent, immature and unfinishe style of the paitnings regives its power in the painted message and show the process of the experience with the painting. To goal, if there any goil is, is to paint out of the inspiration, loose preparations in drawings but nothing still fix and nothing re-repeated. The painting should autonomous experience. Work with the intuition and to embody the intuition with the body of the work. To stop when you think it is finished or otherwise when you stop enjoying it.

Contemporary art of today and contemporary painting doesn’t lye with documentation, archivation or memory, it is cored in the presence and inspiration, motivation for what is to come next. As saying goodbye of what is now. It is the moment on inspiration and courage to do something with it in the moment. It is the mixture of the knowledge and the experience splashed onto canvas.



During the art production and feeling the lack of time or my timeframe for the time I would imagine or expect to give to this work where somewhere far away from the reality, because life happens I have made the decision that any visual impuls outside I find interesting or that gets me I will use it within pictorial storytelling I will use it in advantage of my diploma artworks without higher judgment or expectation I will use anything usefull that can help me build up the painting. So I have made this decision to employ luck and coincidence. One can call it hazard one can find genius within it. I have decided I would rather find the genius, and here we stand.





V. Ending:
I know that recently there might have been strong words used by me in a connection to my work, as contemporary art, artwork, and however I may still technically remain for a few next hours or days a student, I consider my efforts as artistic and feel confident about what I was talking about last half an hour. My words my sound arrogant or proud, but it is only because of that I cannot any other approach *usilie to the process and work do here, because it is what I love, it is my passion and I do believe that we all do her what art is. Otherwise I would not be studing here, if I not belive it has a purpose and message.

Once again, thank you for your time, for listening to me. I am now excited and curious for your questions.





The complecity of my work lies within the things I understand, find logical for me and find myself within it and the things I love to do and be.



I found spontaneity, intuition and ability to forget what we know in order to express what we know and just do it as a main force and motivation for the painting, and if there is still joy for the creator, than the audience will find a way and understanding towards it.






sources:
Unguarded intimacy, Joanne Mora and Emma Talbot








Diploma “About Freedom and Love / About the Wife of the Reiki Healer, that Lives Next Door”, January 22, 2020 in Vienna, Akademie der bildenden Künste Wien

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