Evi Vingerling

  • Untitled, 2018, acrylic on canvas, 100 x 80 cm.

    Untitled, 2018, acrylic on canvas, 100 x 80 cm.

  • Untitled, 2018, acrylic on canvas, 90 x 115 cm.

    Untitled, 2018, acrylic on canvas, 90 x 115 cm.

  • Untitled, 2018, acrylic on canvas, 200 x 150 cm.

    Untitled, 2018, acrylic on canvas, 200 x 150 cm.

  • Untitled, 2018, acrylic on canvas, 150 x 120 cm.

    Untitled, 2018, acrylic on canvas, 150 x 120 cm.

  • Untitled, 2018, acrylic on canvas, 100 x 80 cm.

    Untitled, 2018, acrylic on canvas, 100 x 80 cm.

Pareidolia is a psychological phenomenon by which human beings seek to discern recognisable forms where there actually are none; it is a kind of automatism that our mind is set to trigger to help us understand or find meaning in external or previously unknown stimulus. It is about bringing something that is essentially alien closer to the realm of the familiar. Evi Vingerling (Gouda, Netherlands, 1979) seems to be aware of this mechanism and so her artistic practice is about exploring the plastic and aesthetic possibilities that arise from it. Her quasi abstract paintings confront the viewer with a type of imagery that very often asks for a repositioning, a mental exercise by which the beholder is able to apprehend the represented image wholly —what at first looks like scattered brushstrokes progressively reveal themselves as part of a larger structure. Vingerling’s paintings are then something akin to an event because they implicitly convey the notion of time; time for the viewer’s mind to capture the image and make it its own. The truth is that there is something very refreshing in Vingerling’s approach, one that asks the visitor to remain attentive, on guard.
Evi Vingerling’s body of work sits comfortably between abstraction and figuration; her paintings are indeed a fertile ground in which she cultivates a productive relation between the two realms. Fast and agile brushstrokes, usually combining two colours, feverishly swarm the surface of the canvas that little by little conform the bare structure of an image, sometimes in a more or less obvious way. As the artist herself explains ‘the thing should not look too important’; this statement points not only to the mundane but also to a special kind of intimacy in her relation with reality, her main subject of investigation. From it stems an attraction and a subtle awareness for the quotidian that, quoting French author Maurice Blanchot, is inherently inexhaustible, open ended and perpetually becoming. Taking a quick look at her paintings it seems that the artist finds most of her inspiration in landscapes, plants and flowers; imperceptible things for the many that have the extraordinarily capacity to attract her attention and become worthy of representation. Here comes to mind the work of Ellsworth Kelly, especially his exquisite Plants Drawings, or Clyfford Still’s abstract compositions that so often recall the abrupt orography of North America’s mountain ranges.
‘arcadia’ presents a new set of paintings inspired by the idea of transience, a notion the artist relates to change and development, and with it to the idea of potentiality. An enthusiastic ethos impregnates her understanding of life, one that celebrates movement and energy as well as it appreciates the little nuances of the everyday life. Following this train of thought, it could be argued that her paintings work as somewhat opposed to the idea of the traditional ‘memento mori' (in Latin, ‘remember you will die’), so common in History of Art specially in the Netherlands during the seventeenth-century with the genre of the ‘vanitas'. Instead of perceiving the inevitable passing of time as a source of decay and death, Vingerling takes on a fearless look into the future and appreciates the fleeting nature of a reality in constant flux.
The apparent lightness and fluidity of Vingerling’s work contrasts sharply with a creative process that sometimes can be quite physical and mentally exhausting. Starting from a vivid memory or a photograph, the artist reworks the image to later subdue it to a savage process of reduction of forms —arguably, Evi Vingerling’s practice is all about devouring reality. This visceral approach is also present in her painting methodology where she feverishly applies all the brushstrokes at once in a very short time lapse. And the result is excellent; her paintings are a mix of abstract and recognisable forms that, as the choice of bright colours indicate, bear no direct correspondence with reality. Here we can spot a form of irrationality and ambiguity that turn her paintings into echoes of a distant and ever changing reality.
Recent exhibitions include: Art Rotterdam, with Tegenboschvanvreden, the Netherlands (2018), New Works, Kristof De Clercq gallery, Ghent, Belgium (2017), Work on view in collections at Bonnefantenmuseum Maatricht, Schunck Heerlen and Stedelijk Museum Amsterdam, the Netherlands (2015), Project room, Wiels, Brussels, Belgium (2013), Unisono26, Stedelijk museum Schiedam, Schiedam, the Netherlands (2013), New Work, Ellen de Bruijne Projects, Amsterdam, the Netherlands (2013).

Evi Vingerling
1979 Gouda, Holanda
lives and works in Eindhoven

Exhibitions (selection)

Solo exhibition Central Museum Utrecht, NL Solo exhibition Tegenboschvanvrede, Amsterdam, NL Solo exhibition Kristof De Clercq, Gent, BE Commistion Trippenhuis Royal Academy of Sciences, Amsterdam,NL

Project at Autumn Cocktail Heron Legal, Eindhoven, NL
Group exhibition at Villa Valero, Rivarolo Canavese, IT
Solo exhibition, Galeria Maior, Palma, ES
Beyond the Painting, SEA Foundation Tilburg, NL
Art Rotterdam Tegenboschvanvreden

Painted Bird, Groupshow, Marres Maastricht, NL
“Clair Lieu” Groupshow, Niederrhein, DE
Solo exhibition, Kristof de Klercq Gallery, Gent, BE
Art Rotterdam Tegenboschvanvreden, Kristof de Clercq Gallery

Art Rotterdam Tegenboschvanvrede, Kristof de Clercq Gallery
Art Brussels –Kristof de Clercq Gallery

Tegenboschvanvrede, Amsterdam, NL (solo) September, Current Current, Bob van Orsouw Galerie, Zurich, CH
New Paintings, (solo) Kristof de Clercq, Gent, BE
*work on view in collections at Bonnefantemuseum Maastricht, Schunck Heerlen, Stedelijk Museum Amsterdam

Beating around the Bush #2, Bonnefantenmuseum, Maastricht
Vensters, KAdE Museum, Amersfoort
Painting Biennial, Museum Dhondt- Dhaenens, Museum Deurle, BE
Buning Brongersprijs, Museum Hentriette Polak, Zutphen

Exhibition at Kristof de Clercq Gallery, Gent (solo)
Selfotitled Space, PARK, Tilburg
Wiels, Brussels (solo)
Unisono26, Stedelijk Museum Schiedam, Schiedam (solo)
New Work, Ellen de Bruijne Projects, Amsterdam (solo)

Koninklijke Prijs voor de Vrije Schilderkunst, Paleis op de Dam, Amsterdam
Nieuwe Schilderijen, Temporary Art Center, Eindhoven (solo)
Zomershow, Ellen de Bruijne Projects, Amsterdam
Door Schildersogen, Arti et Amicitiae, Amsterdam
Against Interpretation, Whatspace, Tilburg
Art Brussels (met Ellen de Bruijne Projects), Brussel

Légèreté, Maison de Particulière, Brussel
Recent Aquisitions Maurice van Valen, De Nederlandsche Bank, Amsterdam
What’s Up? De Jongste Schilderkunst in Nederland, Dordechts museum, Dordrecht
Mind Games, China Art Objects Galleries, Los Angeles Koninklijke Prijs voor de Vrije Schilderkunst, Paleis op de Dam, Amsterdam (genomineerd)
Riposte, Stedelijk Museum s’-Hertogenbosch
I Promise to Love You, De Kunsthal, Rotterdam
Paintings, Ellen de Bruijne Projects, Amsterdam (solo)

Dutch abstraction, TADA Projects, Singapore
New Minimalism, Duende, BRAK Rotterdam
Koninklijke Prijs voor de Vrije Schilderkunst, Paleis op de Dam, Amsterdam (genomineerd)
Thieme Award, Art Amsterdam, Amsterdam
L’Exposition Continue (echo), CNEAI, Chatou, Frankrijk
PUSH PULL, Rijks Museum Twente, (project met WJM Kok), Enschede

Pacific, Smart Project Space, Amsterdam (solo)
Wandverwantschap, Museum Belvédère, Heerlen
UND, Villa Carmeline, Nice, Frankrijk
Distilling a few words, Ellen de Bruijne Projects, Amsterdam (solo)
I love the BeNeLux, Virgil de Voldere Gallery, New York

l’Exposition Continue, Circuit, Lausanne, Zwitserland
Wolvecampprijs, Hengelo, (genomineerd)
Golden Disc of the Sun, Kate Werble Gallery, New York

And More to Come..., Ellen de Bruijne Projects, Amsterdam Evi Vingerling, PRC, Bilthoven, (solo)
Billytown, Rijswijk

De Buning Brongers Prijs, Arti et Amicitiae, Amsterdam
What a Finger is to the Moon, Ellen de Bruijne Projects, Amsterdam
Inlay, Consortium, Amsterdam
Open Ateliers, Rijksakademie, Amsterdam
Parts, Parts gallery, Xiamen, China

Open Ateliers, Rijksakademie, Amsterdam
Billytown, Rijswijk
Seven Young Painters, Bowie Van Valen, Amsterdam

Selected public and corporate collections
- Stedelijkmuseum Schiedam, NL
- Centraal Museum Utrecht, NL
- SCHUNK, Heerlen, NL
- Boijmans van Beuningen, Rotterdam, NL
- Bonnefantenmuseum Maastricht, NL
- Museum Voorlinden, Wassenaar, NL
- Stedelijk Museum Amsterdam, NL
- Ministry of Education and Sciences, NL
- ING Bank
- Rabobank, NL
- Ahold
- De Nederladsche Bank
- Akzo Nobel