Empty Kingdom, by the Blind Architect
February 7, 2012
Profile by Sebastian Smee, Boston Globe, 2010
"Yet her art is compelling not because she takes these associative possibilities and runs rampant with them… Rather, it impresses by virtue of its restraint — by the carefully calibrated placement and lighting and scale of her subjects, and by her insistence on conveying so much and only so much."
"While there is something amusing in her choice to tenderly represent a seemingly inconsequential object, Eveleth’s program is more serious."
Danese exhibition catalog, essay by Raphaela Platow, 2006
"In the first paintings of the series, single donuts prominently placed in the middle of the canvas literally face the viewer and enter into an implied dialogue with curiosity, languor, or dolefulness, their single body openings expressively contorted and hovering between vulnerability and overt sexuality."
Painting in Boston: 1950–2000, essay by John Stomberg, 2003
"Eveleth’s paintings restlessly shift across a spectrum of meanings, covering along the way all the distance between opposing significances; prosaic and profound, profane and scared, banal and intriguing, to say nothing of the axis between cool asexuality and gushing, if veiled, sexuality."
"The ear, the one bodily orifice penetrated—if only by the message—in the immaculate conception, has symbolic significance in Renaissance art; think of any Annunciation scene. Gabriel blew his message into Mary’s ear, but before the time of the Great Flood, angels did lust after and consort with the human race."
"Emily Eveleth’s paintings conceal as they reveal. At once theatrical and restrained, open as a wound and yet somehow private, they seem to invite the viewer’s gaze. Acknowledge it, and then absorb it, folding it into their own particular dramas."