Page 10 - Eva Bosch: Shoes and Stars

)is barrage of di0erent in,uences and experiences has resulted,
perhaps unsurprisingly, in a remarkably diverse range of work. Many
of her +gurative images, for example, are delib er ately ‘primitivised’
frequently portraying disturbingly semi-monstrous +gures that ,oat
in dark, ether-like atmospheres, sometimes accompanied by equally
disturbing objects, some times not. But as if wishing to defy any form
of pigeon-holing, Bosch has also ventured into di0erent regis ters of
abstract art, from Mondriaan esque squares to strange blends of small
and large shapes, as well as arrays of ,oating forms vaguely reminiscent
of Miró. )e female +gure–genitalia included–makes frequent, pointed
appearances in quite a few of these pictures.

)at said, Eva Bosch’s work, diverse though it is, has at least one unifying
factor which could, perhaps, best be +rst described in negative terms:
there is nothing fanciful or capriciously super ,uous about it. On the
contrary, in every painting, through the use of shape, colour and–on
occasion– suddenly recognisable images, it is crystal clear that every -
thing (and every thing) that she has painted, has been done so out
of absolute necessity. At the risk of using an over used word, her work
is driven, that is to say, mandatory for the artist herself, and therefore
compul sive and compelling for the onlooker. If her work is looked
at in toto or at least in su2 cient quantity, the spectator emerges from
that experience with a feeling of both elation (due to its quality) and
a healthy disquiet (due to its content). In short, it both deserves and
demands to be seen.

Ma#hew Tree
Banyoles, July !"!#

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