A practice formed through training, place, concentration, and the public life of the work.
Before entering higher education, EVELINA completed six years of formal art training. The programme established a disciplined foundation in observation, composition, drawing, colour, and the construction of an image.
Two of those years were dedicated specifically to oil painting. This sustained contact with the medium shaped a practice built through layering, revision, resistance, and the slow accumulation of chromatic depth.
EVELINA later moved to Aix-en-Provence to study Fine Arts at university. There, the city became more than a setting: fountains, markets, animals, civic fragments, and the particular intensity of southern light entered the work as recurring visual structures.
During this period she began Innocenza di Aix, her first major collection. Its images hold seduction and unease together, asking how visible beauty can coexist with isolation, precarity, and concealed social struggle. Traces et Tracées, presented in Aix-en-Provence from 07 to 14 March 2024, marked an early public moment in this development.
Following graduation, EVELINA devoted a further year to completing and refining Innocenza di Aix. The collection was not treated as an academic conclusion, but as an independent body of work that required its own rhythm, revisions, and internal architecture.
Across this period, repeated subjects began to function as reverberations rather than illustrations. Colour carried atmosphere and memory; familiar forms returned altered by time, emotional pressure, and the act of looking again. This phase entered public view in Feu Follet at MAC ARTEUM, from 07 to 20 March 2025.
In July 2026, Innocenza di Aix was exhibited in Paris's Marais district. Presented at 78 Temple Venue, the exhibition brought the collection into public space and established the first major marker in EVELINA's independent artistic record.
The move from Aix to Paris completed one passage without closing the work. The exhibition made visible an ongoing practice: contemporary painting in active conversation with art history, spirituality, chromatic resonance, and the unstable afterlife of memory.
The painted surface holds more than what the eye can name. Sensation, history, and lived experience meet there, each transforming the other.
The image begins in sensation. Meaning arrives through colour, rhythm, density, and recurrence.
Colour establishes emotional distance, redirects attention, and lets one image continue vibrating inside the next.
The spiritual appears at the threshold where a familiar form exceeds its descriptive role.
Subjects return because memory is not fixed; each repetition carries the residue of an earlier encounter.
Seductive surfaces remain accountable to what they conceal, holding beauty and social struggle in the same image.
Three recorded moments in the public development of the practice.
See the paintings as a living body of work.
