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Faizan
Eva Jospin was born in Paris in 1975 and is a graduate of the Ecole Nationale Supérieur des Beaux-Arts de Paris. Eva's work has encompassed drawing, painting, collage and resin sculpture. But for the last several years she has been recycling cardboard, as if by artistic magic, back into the trees from which her paper products originated, or at least, a representation of it. With glue, jig saw and scissors in hand, Jospin rips and cuts through piles and piles of cardboard, layering it expertly in arrangements to create bas-relief and even 3-dimensional shapes.
Jospin cuts and carves corrugated cardboard into monumental installations with a flair that would be the envy of any marble or stone carver. The cardboard's corrugated edges form a convincing texture for the bark of the trees, and the paper's natural color works well with the forest theme.
Eva Jospin is the daughter of Lionel Jospin, the French politician, who served as Prime Minister of France from 1997 to 2002. Jospin was the Socialist Party candidate for President of France in the elections of 1995 and 2002. Eva began her education first as a student of architecture, but later switched her major to fine arts. She said that she much preferred the more involved hands-on experience that fine arts gave her. She graduated the Beaux-Arts de Paris in 2002.
Jospin points out that her material is not only durable, and strong, but also fragile, impermanent and raw. Jospin explains that she approaches the cardboard on these oppositions. She plays on the material juxtapositions as they mirror the actual qualities of trees, nature and our relationship to it. She has won over the critics too, with her beautiful works with comments such as:
To look at a forest is an optical experience that challenges the typical laws of perspective in western representation. Facing visually the depth of a forest means to forget the horizon, it means to get lost. And is not the danger of getting lost the only risk tied up to that natural labyrinth that is a forest?
She says that her experience working with cardboard is extremely challenging as it is difficult to cut with tools such as scissors and not easily bendable.
"Even the best jeweler would find it hard to make anything precise of it," she admits. But as she sculpts her medium into the most compelling real trees and branches as well as leaves she offers, "Everyone relates to the forest, because references lie not only in mythology, but also in Gothic architecture and animation."
However, few jewelers would create pieces the size of Jospin's forest sculptures which are typically 8-ft (242 cm) high and 10-ft (300 cm) wide. A number of her works are displayed as panels making for much large installations and creating the feeling that one is actually walking through a overgrow forest.
Jospin cuts and carves corrugated cardboard into monumental installations with a flair that would be the envy of any marble or stone carver. The cardboard's corrugated edges form a convincing texture for the bark of the trees, and the paper's natural color works well with the forest theme.
Eva Jospin is the daughter of Lionel Jospin, the French politician, who served as Prime Minister of France from 1997 to 2002. Jospin was the Socialist Party candidate for President of France in the elections of 1995 and 2002. Eva began her education first as a student of architecture, but later switched her major to fine arts. She said that she much preferred the more involved hands-on experience that fine arts gave her. She graduated the Beaux-Arts de Paris in 2002.
Jospin points out that her material is not only durable, and strong, but also fragile, impermanent and raw. Jospin explains that she approaches the cardboard on these oppositions. She plays on the material juxtapositions as they mirror the actual qualities of trees, nature and our relationship to it. She has won over the critics too, with her beautiful works with comments such as:
To look at a forest is an optical experience that challenges the typical laws of perspective in western representation. Facing visually the depth of a forest means to forget the horizon, it means to get lost. And is not the danger of getting lost the only risk tied up to that natural labyrinth that is a forest?
She says that her experience working with cardboard is extremely challenging as it is difficult to cut with tools such as scissors and not easily bendable.
"Even the best jeweler would find it hard to make anything precise of it," she admits. But as she sculpts her medium into the most compelling real trees and branches as well as leaves she offers, "Everyone relates to the forest, because references lie not only in mythology, but also in Gothic architecture and animation."
However, few jewelers would create pieces the size of Jospin's forest sculptures which are typically 8-ft (242 cm) high and 10-ft (300 cm) wide. A number of her works are displayed as panels making for much large installations and creating the feeling that one is actually walking through a overgrow forest.
Posted in: arts
