Dehors il y a la lumiere (2022) Pintura por Evers

Evers lives and works in the region of Huy, Belgium. Trained in painting and sculpture at the Academy of Fine Arts in Liège, she returned to brushes in 2011 to give her work a turn that is both intimate and deeply committed to feminist themes; these have only been affirmed since then, without giving his work a rhetorical aspect. Sensitivity takes precedence above all else in the work of Evers: sensitivity to the frame and to the light, sensitivity to the other and to oneself, concern for the finished work as well as for the position and the sensation of the viewer. Off-framing, allusions, back or three-quarter poses: many things in the choices of Evers who practices almost exclusively acrylic on canvas - say modesty and restraint, but signal at the same time an immense attention to detail, a a certain taste for meticulousness, an attraction for large formats. In many respects, the seemingly contradictory interplay of purpose and form, or even proportion, conveys this mixture in her of restrained celebration and exaltation, this need to marvel and this need to preserve. Her predilection for feet and hands is a way of not sexing the attributes of contact, the expression of tenderness: By playing on the ambiguity of female hands/male hands, I open the door to gender equality, the right of everyone to do as they please, whether the activity is basically considered feminine or masculine. In my 'Transparencies', I use my hands, but strangely the paintings inspire masculine moments. I realize that few spectators are ready to hesitate, to impute the moment described to a man or a woman without a priori. However, the loneliness described is intended to be asexual.

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