Eva Rothschild was born in 1972 in Dublin, Ireland. She completed a BA Hons Fine Art at the University of Ulster, Belfast. Following that she completed an MA Fine Art at Goldsmith’s College, London. Eva lives and works in London. A selection of solo exhibitions includes: Middle Temple, Kaufmann Repetto, Milan, Italy (2015); Dublin City Gallery, The Hugh Lane, Dublin, Ireland; What the Eye Wants, Stuart Shave/Modern Art, London; This and This and This, Art Parcours, Art 45 Basel, Basel, Switzerland (2014); Narcissus, Galerie Eva Presenhuber, Zurich, Switzerland; New Sculpture, New Art Centre, Wiltshire (2013); Douglas Hyde, Dublin, Ireland; Sightings The Nasher Sculpture Centre, Dallas, TX, USA; Childrens Art Commission: Eva Rothschild: Boys and Sculpture, The Whitechapel Gallery, London; The Modern Institute, Glasgow (2012); Hot Touch, The Hepworth Wakefield; Empire, Public Art Fund, New York, NY, USA (2011); Cold Corners, Tate Britain Annual Duveens’ Commission, Tate Britain, London; Stuart Shave/Modern Art, London; Francesca Kaufmann, Milan, Italy; The Modern Institute, Glasgow; Tate Britain, London (2008); South London Gallery, London; 303 Gallery, New York, NY, USA (2007); Stuart Shave/Modern Art, London; Kunsthalle Zürich, Switzerland; Artspace, Sydney, NSW, Australia (2004); Sit-In, Galleria Francesca Kaufmann, Milan, Italy (2003); Stuart Shave/Modern Art, London; Eva Rothschild, Francesca Kauffman Gallery, Milan; Eva Rothschild, Camden Arts Centre, London (2000).
Traditionally wrought, yet highly conceptual, Rothschild’s work is rendered in a varied range of materials including aluminium, leather, wood, tiles and paper. Explaining: “The ideal way to look at art is to be permanently confused”, she is concerned with the physical experience of sculpture and our relationship with objects and ways of looking. Consistently referencing other artists and artistic movements of the twentieth century, her work investigates the relationships between society and the individual, belief and object, volume and mass, and concept and form. Interested in how objects acquire meaning extraneous to their material reality, much of her work examines the spiritual investment in objects engendered by faith, and frequently incorporates the aesthetic trappings of different beliefs, ideologies, countercultures and religions.