Eva Nothomb has a master’s degree from the Brussels Royal Academy of Fine Arts in Visual Art (Drawing; 2016) and holds a BA in Graphic Design from the Institut Saint-Luc, also in Brussels.
2021-22 Tangle and veil that could evoke the movement of the different motifs and techniques used in this kind of imaginative quest between words and images, which would curl and blur like plants or skirmishes forming chaos of paths, vestiges.
Creation of a booklet based on printing techniques, writing and artworks at Roadbooks residency, Inniscarra,
and at the printers of Cork, Ireland.
In 2019 2020 she continues screen printing's the Nothern Ireland experience in Belfast Print Workshop
In June 2019, she arranged a residency at the Seacourt Print Workshop in Bangor, Ireland, starting a work
around bog bodies. Since 2019 she has been a member of the Belfast Print Workshop, experimenting with different types of print in pursuing this work.
This work gave rise to an exhibition (“On the Brink”) in 2019 at La Chambre gallery in Brussels. Since then, the idea of spectrality has evolved, nourished by objects and elements encountered in Ireland, the poetry she read there, the voices she heard, the weather.
Since 2017, she has had residencies in Vanuatu, France, Northern Ireland, and Georgia.
From 2001 to 2011, painting as well as photoshop were her main creative mediums. Pieces she realised in those years were shown at the exhibition: “Magical Journey of a Certain Zero”.
In a collective context, she has had artistic experience for more than fifteen years in her various positions (collaborator, coordinator, project designer and organiser, and activity leader) at a Brussels cultural centre that organised activities and events aiming at multicultural work with different communities. During that time she arranged an art residency in Algeria (2016) and a number of workshops.
She is co-founder of the Cargo-Sinon collective founded in 2013 by five artists from the Brussels Academy of the Fine Arts.
"Aimliú"(irish) which means the spoiling or change of something with exposure to environmental impact.
My practice aims to erode objects and to imagine their spectral, mutable relation/s with others. Or, put otherwise, it’s a practice that tries to work from the edges — the lines, the blanks, the zones of silence — that separate objects but which also permit them to touch, and sometimes combine, transform, blur, and leave traces in one another.
While one could see the edge as something that offers a certain “hold” in reference to a system that circumscribes reality, here it becomes a point of silent passage, of gestation and transformation, objects struggling with their changing environment to redefine themselves.
Objects in my images lose their here-and-now. They cease to resemble: they evoke, they secrete an invisible. Such objects rendered other make something else appear, like the mummified bog body revealed by acid in the peat.Through salt etching and screen printing, various alterations of the image can occur by bitings or overprintings that silence the original edge/s of objects. If the former technique “erodes”, gnaws on the limits, the latter, by allowing me to superpose several thin “veils”, serves less to serialize the image in its repetitive process than to provoke the accident, a pluralisation or blurring of those limits.