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Born in Brussels in 1962, Cynthia Evers lives and works in the Hague region.
Trained in painting (day classes) and sculpture (evening classes) at the Académie des Beaux-Arts in Liège, she took up her brushes again in 2011 to give her work a turn that is both intimate and deeply committed to feminist (or at least feminine) themes; these have only become more pronounced since then, without giving her work a rhetorical aspect.
Awards
– ARALYA Prize at Artcité 2020, Fontenay-sous-bois, Paris, France
– Jury Prize at Art’pu:l 2019
– Winner of the 33rd Chelsea International Fine Art Competition 2018
– Les Papillons de Carpentras 2017, 1st prize of the jury
– Winner of the Salons des Compagnons Mérite Artistique Européen 2015, 2016 and 2017
– Laureate, designated remarkable artist, Biennale d’Art Contemporain en Beauce 2016
– 1st prize at the 2015 Baron Pierre Paulus Art Biennial, Châtelet
– René Théwissen Grand Prize winner 2014 and 2015
– Jury Prize, Envoz’Art 2013
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Sensitivity is indeed paramount in Cynthia Evers' work: sensitivity to the frame (very photographic, even cinematographic) and to light, sensitivity to the other and to oneself, concern for the finished work as well as for the position and sensation of the viewer. Shifts, allusions, back or three-quarter poses: there is much in Cynthia's choices - she works almost exclusively in acrylic on canvas - that speaks of modesty and restraint, but at the same time signals an immense attention to detail, a certain taste for meticulousness, and an attraction to the large format. In many ways, the seemingly contradictory interplay of purpose and form, or even proportion, reflects her mixture of restrained celebration and exaltation, her need to marvel and her need to preserve herself.
Her predilection for feet and hands is a way of not "sexing up" the attributes of contact, the expression of tenderness: "By playing on the ambiguity of female hands/male hands, I open the door to the equality of the sexes, to the right of each person to do what he or she pleases, regardless of whether the activity is basically considered feminine or masculine. In my "Transparencies" I use my hands, but strangely the paintings inspire masculine moments. I realise that few viewers are prepared to hesitate, to attribute the moment described to a man or a woman without prejudice. Yet the solitude described is meant to be asexual...
[If the "Nudes" and "States of Mind" raise the question of feminine fragility or strength ("The hands are powerful, they carry experience; the neck is fragile, it bends but does not break..."), the "Nudes" series breaks with solitude, "even if the presence of another person is only suggested by a hand. I go to the essential... the skin, a piece of skin that says the whole woman, a hand embrace that says a sharing...".
Voluntarily expressionist on the edges, if only by the play of contrasts and lights, the attitude of bodies and faces, Cynthia Evers' work is not attached to any explicit trend or influence; it traces its own path and is finding, more and more, the way to a fine public and institutional recognition (including her regular participation in the animation of workshops in the Province of Liège, in Huy or in other places), which has earned her more exposure and recognition.
An approach in the form of a quest, personal and universal at the same time, for the truth of a human relationship, at the same time as a certain relationship to art, nourished by inner necessity rather than by easy seduction.
Emmanuel d'AUTREPPE
