ÈV VAN HETTMER IS CONTEMPORARY FEMINIST ARTIST, WORKS AND LIVES IN HAMBURG, GERMANY. SHE COMES FROM NITRA, SLOVAKIA AND TRANSITIONED HER ARTISTIC BASE THROUGH AUSTRIA TO GERMANY. SHE STOOD UP TO THE SEXIST PATRIARCHAL PRACTISES AT THE ART UNIVERSITY IN BRATISLAVA (SLOVAKIA) WHERE SHE RETURNED HER DIPLOMA BACK AS A PROTEST AGAINST IT.︎︎︎SHE OWNS MULTIPLE ART AWARDS-WINNING CURRICULUM UNDER SHE WAS 34.
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*ALL BLESSED, 2021, KUNSTHALLE BRATISLAV (PAINTING INSTALLATION)
artist statement
I work with an expanded pictorial space in which painting is influenced by other media on the first level, and on the second level (practical realisation, final product) my artist collaborates in the space as a flat surface (painting) and becomes a sculpture or installation itself. At one moment the painting becomes the dystopian - Dadaist world of Alice, where the Alice is the viewer who is absorbed by the emotions/expressions (in this sense the emotion here represents the space) of the artwork. At a certain moment, the artist and the viewer become part of the painting - they themselves become part of the painting.
My painting is a Dadaist and Mannerist approach that combines with the history of painting through the optics of artists like Chardin and Fragonard, the joy of painting and the contemporaneity of a contemporary painting - working with a local theme of feminism. As an expat and emigrant from the Eastern European (educational) space, I work from the perspective of trans itioning from my social system to another, from East to West and from South to North across Europe. My personal focus is on the issues of trauma and distancing from trauma. Trauma in this sense can be a strong sociopolitical experience within the local system on which I want to turn the spot- light of society, and perhaps on the personal level work through this trauma (Nikki de Sait Phalle) and through the feminine, feminist interests (Jutta Koether, Valie Export) I come out of my origin (Stano Filko, focus on the Slovak vil- lage) by distancing myself in the foreign city and following my faith. (Mondrian‘s horoscope). In my painted space I have reduced the iconography almost to a loose textile design (Mondrian, fashion - Louis Vouttion bags from 2000), my travelling weekend Louis Vouttion bag becoming a barrier box on my way back to Germany from Slovakia, as I decided to stay in Hamburg during the pandemic, and from the outside and dealing with the trauma of being a „girl playing with colours“ (Kippenberg, Jutta Koether) and the challenges of the art world, internationally through country to country, across Europe, using cardboard and online media to make my voice heard. Èv van Hettmer, Sept 10th 2022
My painting is a Dadaist and Mannerist approach that combines with the history of painting through the optics of artists like Chardin and Fragonard, the joy of painting and the contemporaneity of a contemporary painting - working with a local theme of feminism. As an expat and emigrant from the Eastern European (educational) space, I work from the perspective of trans itioning from my social system to another, from East to West and from South to North across Europe. My personal focus is on the issues of trauma and distancing from trauma. Trauma in this sense can be a strong sociopolitical experience within the local system on which I want to turn the spot- light of society, and perhaps on the personal level work through this trauma (Nikki de Sait Phalle) and through the feminine, feminist interests (Jutta Koether, Valie Export) I come out of my origin (Stano Filko, focus on the Slovak vil- lage) by distancing myself in the foreign city and following my faith. (Mondrian‘s horoscope). In my painted space I have reduced the iconography almost to a loose textile design (Mondrian, fashion - Louis Vouttion bags from 2000), my travelling weekend Louis Vouttion bag becoming a barrier box on my way back to Germany from Slovakia, as I decided to stay in Hamburg during the pandemic, and from the outside and dealing with the trauma of being a „girl playing with colours“ (Kippenberg, Jutta Koether) and the challenges of the art world, internationally through country to country, across Europe, using cardboard and online media to make my voice heard. Èv van Hettmer, Sept 10th 2022