Eva Sigurðardóttir
evasig93@gmail.com, evasigurdar.com, instagram.com/evasigurdard, via.is, instagram.com/evasig__
Eva Sigurðardóttir 26.07.1993
Based in The Hague
(Reykjavík, Siglufjörður & Istanbul)
(+354)8618499
Eva Sigurðardóttir is a art graduate and an activist based in The Hague, The Netherlands. She is born and raised in Siglufjörður, Iceland and is newly graduated from the sculpture department at The Royal Academy of Art, The Hague (August, 2016 - July, 2020).
Eva Sig is an interdisciplinary artist busy with researching society and human behaviour. She approches her practice with anthropological perspective as well as intuative communication. Lately she has been working with installations and performance -- focusing on the space and the human interaction within the space; space being her main medium, she explores spaces; their atmosphere, architecture, role, meaning and intentions. She investigates how the human body interacts with the space and how to map the space. How to transfrom the space, be the space, react to the space -- site responsive.
She is politically engaged and involved in feminist activism in Iceland: She is a member of the organising team of the Slutwalk in Iceland -- a feminist movement focusing on improving the social structure and the legal system for survivors of sexual violence. Eva is also a co-founder of a feminist online magazine, FLÓRA ÚTGÁFA , that concentrates on improving equality and feminism in the coverage and working methods of Icelandic media. She is the assistant editor and her role evolves around editorial work, artistic direction, social media management and communication.
GRADUATION PROJECT
Side being, side belief
Installation // tape and things, videos + occasional body // 2020
Inside / / outside ;;
What is our role within the space and what is our connection to it? Questioning who belongs to what and what belongs to whom.
We are on the inside or outside - but what is in between?
Existing inside / outside a space does not parallel the actuality of an insider nor an outsider. It can become
both or neither. The presence of both or neither.
Questioning how personal background and experience affects the feeling within a space and what that space has to offer - as well as what can be offered to the space. Private and public.
Interactions within the space are controlled by unconscious thinking
Finding opportunities to highlight the actions and slide them into the consciousness.
Knowing without knowledge controls our behaviour although demanding control of the knowing with observation and acknowledgement is a possibility.
Insider / / outsider
What happens when you step out of your unconscious thinking and doing. When you explore your being within the space
The counscious being of actions, where does this conscious visit lead you and how does it relate to the space and other beings, conscious and unconscious. What does your being mean and how does one portray it with conscious mind, is one the true self when not unconscious?
In Iceland there is this folklore of beings that are in control of nature. The humans make their way to avoid those creatures, at least behave cautiously and with utter respect.
What if my being is this way of approaching my own being and fellow beings being with constant caution and timidness.
THESIS
Feel safe to feel safe
In her research, Eva departs from a deeply rooted interest in the psychology of space, in particular the phenomenon of ‘feeling safe’. Starting with her own experiences and observations during her artistic and activist practice, she investigates the relationship between spatial awareness, philosophical conceptualisation and the process of movement through space. Her writing style is concentrated as well as poetic allowing for plenty of room between the different notions of safety, whether it is related to the idea of a place like ‘home’ or referring to a collective, social experience of public space. Delicate, tentative and yet decisive in her approach, the thesis can hopefully serve as a chapter in Eva’s ongoing exploration of spatial settings as the basic requirements for creating a stage with ultimately one goal: allowing to take action – whether it is artistically or politically
Text by Alexandra Landré