Eva Hradil

Eva Hradil
(born in Vienna)

SNUGGLING, 2019, for the art in print series women III

Screen print (serigraph) in four colours on Fabriano White Cotton paper 350 g
Printed by Robert Svoboda, art&print, Vienna

Edition of 33 + 5 AP + 2 EP + 1 PP

Signed, dated, titled and numbered by the artist

40 x 50 cm

Eva Hradil

born in Vienna – lives in Vienna and Lower Austria
1999-2003 // University of Applied Arts, painting and graphic art
2003 // Degree with distinction for “Present and Absent Models”
Work abroad / Residencies / Symposiums
Beijing & Wuhan (China) (R, 2001)
New York (W, 2005)
Valtice/Tschechien (S, 2005)
Westport/Irland (R, 2006)
Budapest (R, 2008)
Liechtenstein (R, 2009)
Örnsköldsvik/Schweden (S, 2009)
Cesky Krumlov/Tschechien (S, 2010)
Buenos Aires (A, 2017), Frankfurt/Oder (R, 2019)

“To me, it looks like the moon and a couple of stars,” says a friend lying on the sofa, who was forced to comment on the sample print of the artwork. “Those are dancing couples!” calls another friend, whose passion is dancing the tango. Which other yearnings/desires/ideas does the print cover?

I myself had the initial idea for the piece with the concept of “snuggling”. I brought together two strains of thought that are enclosed within each other, and are so tightly tied with and in each other that it’s almost more than snuggling. And I chose one of my photos in which garlic and pepperoni share a beautiful plate as a seat. Small drawings of chairs arranged in pairs are a third visual theme.

It’s important to me that the content surrenders to the togetherness, that it is elastic and flexible. That it can adapt to the eyes that view this togetherness. With placeholders taken from everyday life, establishing, creating, trying out new relationships. Together. Or simply with the space, with the possibilities provided by the format.”

Eva Hradil, 2019

About the artist

“Hradil is dealing more and more with relationships in her images. She understands them in a double literal sense: on the one hand, she is interested in complex human networks and the emotional connection with everyday objects, while on the other hand, she is drawn in by the artistic process with its multifaceted possibilities of interweaving, overlaying and overlapping (bodily) forms. […]”

Günther Oberhollenzer, text extracted from the catalogue