Eva Hild - Design New York Tuesday, December 5, 2023 | Phillips

Create your first list.

Select an existing list or create a new list to share and manage lots you follow.

  • An Interview with Eva Hild 

    Many collectors may be familiar with your ceramic sculptures in which thin layers of clay delicately envelope and fold onto each other. In what ways does working in metal, compared to clay, affect your artistic approach?


    My way of working is actually the same, as the ceramic sculpture is always the origin and starting point. Introducing metal presents fresh challenges and opportunities. While the shapes may be similar, the ultimate expression might be different. Additionally, it allows me to collaborate with other skilled artists in metal workshops and foundries, which I find gratifying. Working in metal is a development of my artistic and sculptural practice and gives me new ideas for future work.


    When and why did you decide to transition from using clay to using metal for your sculptures?


    Transitioning from ceramic to metal has been a gradual and interesting journey. It’s another way to express myself, and often on a larger scale. My sculptural work has architectural qualities, and I really like to see the shapes growing and interacting with their environment. I’ve created public installation which necessitate the durability and strength of metal. In this particular instance, the initial model, as is my customary practice, is crafted from ceramics. The intricate form is then cast in aluminum, enabling the sculpture to be securely positioned in an exposed area.


    Eva Hild in her studio. Photo: Anna Sigge.

    You have described your sculptures as expressive of both “strength and fragility” as well as “presence and absence.” How does “Loop” represent these seemingly contradictory ideas?


    My sculptures show me the necessity of opposites; they are paradoxes, bodies where presence and absence meet and where the inside and outside are twisted and turned. The thin wall of the sculpture is like a membrane being pushed and pulled in different directions while remaining together. My sculptures are organic self-portraits, capturing the dual nature of humanity: resilient yet delicate, much like clay.


    How did you decide on the title Loop?

    The Loop series is based on the never-ending line that is moving around in the sculpture. The contour runs through the sculpture and unifies it; a closed circuit is keeping the complex shape together. It's a way for me to introduce some sense of order.

    • Provenance

      Nancy Margolis Gallery, New York
      Acquired from the above by the present owner, 2011

    • Literature

      Love Jönsson and Petter Eklund, Eva Hild, Stockholm, 2009, n.p. for a similar example
      Sara Arvidsson and Sune Nordgren, Eva Hild, Stockholm, 2016, p. 100 for a similar example
      Nancy Margolis Gallery, Eva Hild, New York, 2020, n.p. for a similar example

Property from a Distinguished Private Collection



Lacquered and pigmented cast aluminum.
32 1/2 x 44 x 30 1/2 in. (82.6 x 111.8 x 77.5 cm)
Cast by Schmäke, Düsseldorf, Germany. Base impressed Eva Hild and with foundry mark.

Full Cataloguing

$25,000 - 35,000 

Contact Specialist

Benjamin Green
Associate Specialist
Associate Head of Sale
+1 917 207 9090


New York Auction 5 December 2023