Born in 1975 in Paris, France
Lives and works in Paris, France
“Tis the sad wind that sighs through the withering leaves”
“Mi ritrovai per una selva oscura” (1)
Eva Jospin develops her works with patience; and it is with patience that one must contemplate, and even experience them. The artist works with cardboard – in theory a raw, unappealing and simple material – to create volume and perspective. This certain vision of a so-called “poor” art, gives a particular attention to the material, to the physical involvement of the artist, and to the spatial context of its presentation. A dichotomy lies at the heart of this work, between the violence of the gesture (tearing apart and lacerating the cardboard) and the subtlety of the nished work, when it comes out nely crafted. A long work of cutting, assembling and superimposing allows her to chisel forests, at once dense and delicate, enigmatic and quiet. To observe them constitutes a mysterious and troubling aesthetic experience; they draw mental and oneiric landscapes leading us deep into “those districts of the soul where monstrous vegetations of thought extend their branches.”(2)
Similar to the decor of a long-forgotten dream, Eva Jospin’s works possess a singular power of suggestion. Alone facing these forests, the viewer cannot help but let his mind wander. Such is the case with forests in which we, literally, lose ourselves. The ambiguity of these works, inspired as much by classical landscape painting, as by land art, resides, among others, in their plural identity: at the same time a painting, a sculpture, a high relief… To look at each new creation by the artist is just as visual as it is immersive. Beyond this sensory experience, these works also function as a screen on which everyone is likely to project his/her own interpretation: isn’t the forest a place of in nite possibilities? In any case, this is what fairy tales have taught us. Indeed another facet of Eva Jospin’s work aims at awakening the child in us: when facing her works, we are both lled with wonder and potential worry.
Daria de Beauvais – Excerpt from the catalog “Eva Jospin”, Galerie Suzanne Tarasieve, Paris, 2015 (1) “I came to myself, in a dark wood, where the direct way was lost”, Dante Alighieri, The Divine Comedy: Inferno, Canto I (The dark forest), rst posthumous edition of 1475, translated by A.S. Kline.
(2) Joris- Karl Huysmans, Against the Grain, 1884, translated by John Howard.