Cynthia Evers’ probing works provide an unapologetic glimpse into raw, visceral emotion within the human experience. Utilizing a variety of media on both paper and canvas, Evers uses a minimalist palette of black-and-white that allows her to seamlessly capture microcosmic moments of human vulnerability with acute accuracy and detail. Her subjects, though human, are fragmented; closely cropped images of fingers gripping at glassware, hands tensed around the neck, and toes flexed upon the ground imbue her subjects with a sense of personal history. The artist explains: “Glasses, hands, and feet, which look real, carnal, and human, turn into portraits of subjects who have already lived and have a history of their own.”
Evers artfully juxtaposes the anonymity of her subjects with accessibility of human emotion. Nuque 6B (2017) and Nuque 7B (2017) reveal an image of a woman, donned in a sweater with her fingers clasped around her neck. Through a stark contrast of black-and-white and a nearly microscopic attention to detail, we as an audience notice the delicate wisps of the figure’s hair, divots in her curved, tensed fingers, and ruffled, velveteen fibers of her sweater. Nonetheless, through a close-cropped compositional frame, Evers denies her audience the satisfaction of identifying the figure, thus allowing us to turn inwards and imbue our own traits and personalities upon her subjects. She quotes: “[My spectators] must use their imagination to give the subjects a true existence and create a story built on their own life experiences.” Although anonymous, Evers’ subjects serve as a mirror for the viewer’s own experiences and emotions.
Cynthia Evers, born in Belgium, studied at the Royal Academy of Arts in Liège. Her work has received much critical acclaim, including the Prize of the Public at the Salon of European Artistic Merit in 2015. The artist currently resides in Brussels.