JOURNALS

Thoughts on the works
of Eva Schjølberg

Yuka Kawai

I saw Eva's works on the internet. As I journeyed through her works on the web, I tried to understand her creations.

Many works made of textile have a quality that appeals to the sense of touch, yet Eva's works feel as if the nature of the materials is actually being suppressed. Mainly working in white, the shape of the carefully selected objects has been reduced to its bare minimum elements. Individual shapes have been positioned discretely and sensitively in the spaces, yet they work together echoing each other and bringing the piece together as a whole. The strong shadows are sharp, faithfully in line with the contour.　

The spaces which Eva creates are filled with an atmosphere of tranquillity; they seem to be how I imagine Norwegian forests might be on a sunny winter's day. I can imagine the sensation of breathing in the chilly air as I step out into the fallen snow and wander slowly between the trees touching the trunks as I go.

But if I pause for a moment, I can sense a feeling of disquiet. This installation which appears to be beautifully organised and harmonious somehow makes me think of something completely different. I sense a struggle or tension between the shapes and the spaces even as they maintain their elegant lines. The tubular forms twist and bend drawing gentle curves - they become nerves or muscles belying a hidden strength.

The accumulation of handwork which is evident in the vast number of carefully folded pleats, the multitude of sections, the continuous flowing arrangement, the complicated entanglement of the lines coming together awakens my senses in anticipation.

The lines appear to flow elegantly into the air, yet these lines are certainly not serene; there are signs that something is squirming inside. Like when a person is still; however quietly they stand, inside of them blood is flowing around and breath is going in and out, thoughts and sensations coming and going without stopping. I felt that perhaps these works were hiding a complex inner inquiry.

I began to think that what she had really intended to create was the equilibrium between the lines and the spaces filling the gaps between the lines, and the sharp cut-out shadows.

In fact, Eva and I realised that we have already met once in Tokyo. I still have one long slim pamphlet of Eva’s. I feel a sense of wonder at this re-encounter. I am glad that our works have led us to this chance meeting.

Yuka Kawai, June 2008