Lines of Communication. The Way of Spirit exhibition is launched at the Cathedral Museum of Caltagirone. The exposition is opened in chapel from April to May. When installing decorations, the everyday life and appearance of the chapel were left almost intact: the priority of the worship over the art space was fol- lowed. This is what ensured the gentle contact be- tween the past and the future.

Based on spirituality of light and materialization of shadow, the environment around Eva’s works, set- ting of the beauty and value of her art are essential for her success, being the vital line for communicat- ing with the observer. Employing capabilities of unu- sual techniques and materials, the artist transforms symbols into traces of some supernal secrecy, and video projections let us submerge into suggestive virtual environments. Following this way, Eva reor- ganizes the space into a “vessel” that shapes the light. The amazement effect occurs due to gradual emergency of unexpected forms that come out as in photo developing under the artificial light; it is the

combination of light with these works that allows for feeling this virtual space. In the twilight of the chapel, retina adapts to perceiving Eva’s mysterious images: those are separate parts of two-dimensional images, whose shapes — drowning in the dark — get us to the marvelous dreamworld. Experimenting with decompositions, Eva enables us to go beyond what we see and then get in deep touch with the images which are accompanied by brilliant video projections and acoustic passages.

In the Death video resembles an ecstatic dervish dance that translates the image of a melancholic- beautiful heroine. This motion is what leaves the romantic feeling of emptying the inner space for the rhythm of dance and gestures. Sexual and — at the same time — sophisticated woman appears as a mirage, symbol, muse, and mother. Her sexuality transforms into delicacy, intricate and soul-stirring.

In the Apocalypse video we see hypnotic motion fluc- tuating between expanding and shrinking. The key characters are black crystals, graphic lines on white

background, scratches that resemble Hans Hartung’s works and Japanese graphic experiments of Joan Miró. Snowflakes, infinitely small particles, are a meta- phor of Arche, the chemical element which the whole world is made of — the fundamental brick of all flesh.

The ensemble of Eva’s masterpieces and chapel architecture is what creates the sacred atmosphere which outbalances canons, religions, trite expres- sions, and thereby creates the microcosm from ata- visms, anachronisms, and antispaces.

Reflection on Eva’s specific artistic language, medi- tation on every image or set of forms — all this becomes the single thing. Sounding like a stormy or faded babble that gradually controls all images in memory, every work gives rise to remembrance. Looking at these works, we capitulate to the persis- tent and omnipresent noise of life that accompanies our everyday life. Thus, beside reading the language of art, we experience the emergence of the very real- ity which is perceived through listening to fragments processed by Eva in her art.

Awaiting the return back home of The Throne of Grace — a masterpiece of a Dutch painter Vrancke van der Stockt, I must note that Eva’s exhibition is in some sense similar to the Flemish art, which determines the world as a sum of objects transparently visible in all their aspects as they reflect the Creator’s ac- tion and concentrate the essence of life. Appearance of every object (including human) becomes the cor- nerstone principle of their existence which integrates the immanent and the transcendental. Conventional representation of visually-banal elements combined together forms the complex symbolism; according to this symbolic system, soul of every object is enclosed in its appearance.

The chapel of the Cathedral Museum of Caltagirone is the most decent framing that Eva and her way to the Beauty deserve.