EVE INGALLS
bio
Eve Ingalls attended the Skowhegan School of Art and is a graduate of the Yale University School of Art. She was one of the two artists representing the United States at the Holland Paper Biennial in 2006, held at the Coda Museum and the Museum Rijswijk in the Netherlands. Her sculpture was exhibited at the Art Forum in Kyoto, Japan 2007, and at the Schokland Museum, a UNESCO World Heritage Site, in the Netherlands, in 2003. Her work has also been exhibited throughout the United States including exhibitions at The Aldrich Museum, Ridge-field, Connecticut, The Cleveland Museum of Art, The Bruce Museum, Greenwich, Connecticut, The New Britain Museum of Art, New Britain, Connecticut, The New Jersey State Museum, The Hunterdon Museum, Clinton, New Jersey, and The Kalamazoo Institute of Arts. Her work has been reviewed in The New York Times, Sculpture Magazine, Arts Magazine, Art and Antiques, Art New England, De Volkskrant, Beeldende Kunst, De Courant Amsterdam, and la Nacion (San Jose, Costa Rica). Her work is in the collection of The Schokland Museum in the Netherlands and in the collections of The Noyes Museum, The Zimmerli Museum, The Hunterdon Museum, and The New Jersey State Museum in New Jersey, and the G.D. Searle Collection. She received a visiting artist grant to create work at the Awagami Papermaking Factory in Tokushima, Japan. She was also a New Jersey Printmaking Fellow at the Brodsky Center, Mason Gross School of the Arts, and a recipient of a Cultural Grant from the Netherlands-America Foundation.
statement
“Currently I use both paper and metal for their ability to record the intricate effects of wear and tear on the cultural and natural fabric of our contemporary world. Among these effects are the boundary shifts that are being caused by global warming. Several sculptures evoke shelters that might once have been considered secure, but have now become outposts in uninhabitable territory. A sculpture called It’s Only a Wave, Ma’am is simultaneously a wave and a building, indicating a deadly confusion between comfort and danger. References to the human body and to human scale unite in the sculpture to produce the un-settling effect of implicating a part of the viewer’s body in the action that defines each sculpture. It is as if a part of one’s body is being used without one’s consent, disturbing the boundary between the artwork and the viewer.” — Eve Ingalls
work
Hands On, 2016, handmade paper, paint, aluminum wire, 36 x 24 x 4 inches.
Just Leave It to Beaver, 2017, handmade paper, acrylic paint, aluminum rod, 85 x 97 x 84 inches.