My work is the constant attempt to translate the images in my head. The banal, everyday or fleetingly-perceived have the same status as phantasias or images from art history. I am impatient and want to make the pictures in my head visible in my own visual language as quickly as possible, so the pictures are never finished, but rather remain in a continuous process. The overpainting, the use of and experimentation with different materials—such as collage, photography and painting—are an expression of what is important to me at that moment, a narrative form that is only safe from myself when I hand it over in a further process of change. Invisible figures, people either in motion or standing in front of each other commingle. They are mostly female figures—in my own engagement with femininity and sexuality, history and the questioning of painting.
Eva Beresin’s (b. 1955, Budapest, Hungary) recent solo exhibitions include Aktenkundig (On Record), Spazio Amanita, New York, NY; Hidden Messages, Charim Galerie, Vienna, Austria; A Daily Exercise of Deadly Sins and Other Nonsense, La Nave Salinas, Ibiza, Spain; and Beware of the spirits that you call, M+B, Los Angeles, CA. Recent press includes reviews in The New York Times, Artforum and Art in America. Beresin’s monograph, My Mother’s Diary: Ninety-Eight Pages, was published by Verlag für moderne Kunst in 2019 and presents the artist’s paintings that were based on her mother’s journal written after her liberation from Auschwitz. Eva Beresin lives and works in Vienna, Austria.