Eva Antonini was born in Rapperswil-Switzerland, the place of her childhood and adolescence. As a young girl, Eva reveals a natural proneness for molding clay, matter that later will be privileged in the creation of sculptures of medium and large dimensions.
From 1981-1985 she lives in Geneva, where she takes her first steps in the working world, following her diverse and complex education: language studies; singing, music and dance; a horizon of journeys, stays in England, Italy and United States with stops in the Middle and Far East. In l985 she moves to the Canton Ticino with the intention of refining her linguistic knowledge, particularly in italian and english.
From 2002 she definitely plunges into the passion and choice of an artistic life. Along the way she acquires fundamental knowledge on such matters as clay, plaster, alabaster and marble. Together with specialization courses, she attends studios of master sculptors such as Oreste and Antonio Quattrini, Giorgio Eros Morandini, Giovanni Cimatti.
In 2003 she takes part in the first collective exhibitions and in 2005 she is the recipient of a prize for sculpture at the International Biennial of Contemporary Art in Florence.
In 2006 she receives her first commission for the creation of a bronze sculpture to be placed in an open space.
In 2010 some of her work is chosen for the exhibition at the Carousel du Louvre, headed by the National Fine Arts Society of Paris. Her expository curriculum ranges from Switzerland, to Italy, from France to the United States.
Visualizzazione post con etichetta Clay sculpture. Mostra tutti i post
Visualizzazione post con etichetta Clay sculpture. Mostra tutti i post
Eva Antonini | Switzerland | Sculpture
Ronit Baranga 1973 | Clay sculpture
An Israeli artist with a head full of memories. Memories that might come from childhood, confronting the hands of an adult? An art that creates mysterious characters, images of women hiding behind their masks, or objects that have a life of themselves, and some human presence. This poetic confrontation, of liberty, conducted in default, in each of her sculptures, destabilizing the whiteness of its creation, brings me back to buried things, far from my conscience. All these elements are so strong, but in a way we are induced to observe in a quiet almost disquieting way. It is creating feelings, it seems like the best of signs. For an art that seems to live in a right balance between the extreme and the imagination.
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