Eva Claessens: An Unwavering Passion for Art and the Human Form
By Nana Japaridze
From her serene garden in Uruguay, Belgian-born artist Eva Claessens continues a decades-long journey that began in her early childhood. She is known worldwide for her poignant and moving paintings, sculptures, and mixed-media works—pieces that capture the delicate balance between power and fragility in the human body. Below is an edited and organized interview with Eva, drawn from a lively conversation about her life, inspirations, and artistic vision.
A Brief Biography
Born in 1971 in Belgium, Eva Claessens grew up with an early sense of certainty about her calling as an artist. While her parents encouraged her to earn a diploma first, she remained steadfast in her passion for painting. At just eighteen, she moved to Italy, studying at the Academia dell’Arte in Perugia and working in the studio of painter Romano Stefanelli.
Over the years, her work has led her to far-flung corners of the globe: the United States, Jamaica, Israel, India, and eventually Uruguay, where she now lives and works. In each locale, Eva has honed her approach to color, form, and technique. Her art frequently features the human form—often in its most vulnerable, nude state—to express fleeting emotions, tenderness, strength, and connection.
Conversation with Eva Claessens
- Could you describe what first inspired you to pursue art at such a young age?
— I was four or five years old when I decided, “I’m going to paint!”—like children say they want to be astronauts or dancers. For me, there was never a plan B. Then, at age eleven, I visited the Vasarely Museum in Provence, France, with my parents. I still remember that feeling of seeing a museum dedicated to one artist made me realize, “It’s possible!”
My parents wanted me to earn a diploma first, but I was determined to follow my calling. A few days after my final exams, I left for Italy, spending a year working as a model in a painter’s studio. I learned Italian, studied at an art academy in Perugia, and never looked back.
- You’ve lived and worked in Belgium, Italy, France, and now Uruguay, among other places. How have these diverse cultural experiences shaped your artistic vision?
— Interestingly, it’s less about color or style influences from each culture and more about my personal journey—the search for freedom. I’m always trying to fully be myself, in life and in my art. Living in different countries has been part of that quest. It’s not about picking up a specific artistic tradition from a place but about finding spaces—often in nature—where I feel free to explore and create.
- Your work is said to capture fleeting emotions and everyday sensations. How do you translate those intangible feelings into paintings and sculptures?
— When I paint, I’m looking for that moment of pure connection—like a deep conversation with a friend or the flutter in your stomach when you see something beautiful in nature. I often sketch my models in a few lines, trying to preserve that immediate emotional spark. Later, I transfer those lines onto large canvases or into three-dimensional sculptures. But the essence is the moment—the vulnerability, the tenderness, the now.
- Nature seems to play a central role in your life and your creative process. Can you talk about that?
— Nature is essential to me—not necessarily as a direct subject of my art (though I sometimes paint flowers), but as the environment I need to exist in. I find it hard to function in big cities; the noise and crowds can overwhelm me. In nature, I can truly feel, be still, and observe without interruption. This quiet reflection then feeds my work, allowing me to stay connected to my own emotions.
- You’ve mentioned that you always paint from real models rather than photographs. How does this direct interaction shape the authenticity of your work?
— Working with live models helps me step out of my own head. I focus on the lines and shapes of their bodies, especially hands and feet, which I’ve always found intensely expressive. For me, a person’s hands can reveal far more than a carefully arranged face. This real-time observation and energy exchange keeps my paintings and sculptures alive.
- You use various mediums—acrylics, marble, bronze, printmaking. How do you decide which form best conveys what you’re feeling?
— I never plan it in a rigid way. I start with a sketch on paper, transfer it onto canvas, and let it evolve—often leaving it aside for days, revisiting it. Sometimes it needs color; sometimes it remains in white, layered with texture or a piece of cloth I happen to find. My sculptures also begin as sketches in clay, then get translated into marble, bronze, or other materials. It’s a fluid process guided by intuition more than intellect.
- Many describe your work as having an “unfinished” quality. What leads you to leave pieces so open-ended?
— I prefer to see it as capturing a moment in motion—leaving it open-ended. If I were to “complete” every line or enclose it in a frame, it would be too fixed. Life is never static; a second later, things can change. So yes, there’s a deliberate openness—a sense that the piece could shift and evolve along with you.
- Travel seems integral to your creative journey. Can you share how these experiences inform your art?
— My “travels” often mean living somewhere for months or a year, immersing myself in the local environment. Or I might drive for days through quiet countryside, stopping in small towns. This solitude, surrounded by nature, is how I reflect and reset. It’s not tourism—it’s seeking spaces where my mind and creativity can flow.
- In exhibitions like “She Said Yes,” your work engages in a dialogue with other art forms. How do these interactions influence you as an artist?
— I don’t collaborate frequently, but when I do—like with my close friend—it’s incredibly stimulating. We plan shows that might include music, dance, and poetry as extensions of our visual pieces. It pushes me to think outside the box, to see how my art converses with other mediums and to invite people into that conversation.
- How do you see contemporary art addressing personal and universal experiences, and where does your work fit within that landscape?
— I honestly live quite outside the mainstream art world—I don’t go to big-city galleries or follow trends. I create what I feel and trust that the right people will connect with it. Some collectors have never met me or seen the original piece in person before buying it. Something in my work resonates. Art is a language—either it speaks to you or it doesn’t. I’m grateful there are people who understand or are moved by what I express.
- The human figure is central in your art. What does its portrayal mean to you?
— It’s my language—it’s how I communicate emotion. I’m a very tactile person; I talk with my hands, I touch fruit before I buy it, I’ll rest my hand on a friend’s arm while chatting. That sense of physical connection translates naturally into my paintings and sculptures. Hands and feet, in particular, reveal honesty. A face can wear a mask, but hands and feet rarely lie.
- Looking ahead, are there new themes or mediums you’re excited to explore? What can we expect from your upcoming projects?
— I’m especially intrigued by new sculptural materials and technology. For instance, 3D scanning now allows every fingerprint impression in my clay model to be replicated in marble. I love that intersection of traditional craftsmanship and modern tools. Painting-wise, my evolution is more organic. I follow what’s inside me at each stage of my life.
As for exhibitions, I have some major shows in the works—Portugal this October–November (2025), then a wonderful project at MACA in Uruguay from December through February, followed by São Paulo in March–April, and finally Château La Coste in France in the fall (2026). Each will explore new layers of my conversation with the human form.
- Finally, how do you define success as an artist, and what legacy do you hope your work will leave?
— Success, for me, is freedom—the freedom to create from a genuine place and to live life on my own terms. It’s also about the feeling that my work resonates with others. I’m always delighted and honored when someone chooses my art—when they commission a piece or share that it evoked hope or another meaningful emotion. If my legacy is that I brought a moment of connection and beauty to someone’s life, that is the true reward.
Closing Thoughts
Eva Claessens’s art is a testament to unwavering conviction, emotional honesty, and the relentless pursuit of personal freedom. By painting from live models and embracing the fluidity of each piece, she reminds us that art—and life—is an ongoing dialogue rather than a fixed statement.
Her upcoming international exhibitions promise to expand this dialogue, weaving in new materials, performance elements, and collaborative synergies. As Eva continues to explore the ever-shifting potential of the human form, one thing remains constant: her art springs from a place of deep reverence for connection, nature, and the boundless possibilities of creativity.
Upcoming Exhibitions
Eva’s artistic calendar is bustling, with major shows scheduled on three continents. Mark your diary for:
- October–November 2025: Solo Exhibition in Portugal
- December 2025–February 2026: Show at the MACA Museum in Uruguay
- March–April 2026: Exhibition in São Paulo, Brazil
- September–October–November 2026: Château La Coste, France
These exhibitions promise a deeper look into Eva’s evolving dialogue with the human figure, nature, and emotion.
By Nana Japaridze
From her serene garden in Uruguay, Belgian-born artist Eva Claessens continues a decades-long journey that began in her early childhood. She is known worldwide for her poignant and moving paintings, sculptures, and mixed-media works—pieces that capture the delicate balance between power and fragility in the human body. Below is an edited and organized interview with Eva, drawn from a lively conversation about her life, inspirations, and artistic vision.
A Brief Biography
Born in 1971 in Belgium, Eva Claessens grew up with an early sense of certainty about her calling as an artist. While her parents encouraged her to earn a diploma first, she remained steadfast in her passion for painting. At just eighteen, she moved to Italy, studying at the Academia dell’Arte in Perugia and working in the studio of painter Romano Stefanelli.
Over the years, her work has led her to far-flung corners of the globe: the United States, Jamaica, Israel, India, and eventually Uruguay, where she now lives and works. In each locale, Eva has honed her approach to color, form, and technique. Her art frequently features the human form—often in its most vulnerable, nude state—to express fleeting emotions, tenderness, strength, and connection.
Conversation with Eva Claessens
- Could you describe what first inspired you to pursue art at such a young age?
— I was four or five years old when I decided, “I’m going to paint!”—like children say they want to be astronauts or dancers. For me, there was never a plan B. Then, at age eleven, I visited the Vasarely Museum in Provence, France, with my parents. I still remember that feeling of seeing a museum dedicated to one artist made me realize, “It’s possible!”
My parents wanted me to earn a diploma first, but I was determined to follow my calling. A few days after my final exams, I left for Italy, spending a year working as a model in a painter’s studio. I learned Italian, studied at an art academy in Perugia, and never looked back.
- You’ve lived and worked in Belgium, Italy, France, and now Uruguay, among other places. How have these diverse cultural experiences shaped your artistic vision?
— Interestingly, it’s less about color or style influences from each culture and more about my personal journey—the search for freedom. I’m always trying to fully be myself, in life and in my art. Living in different countries has been part of that quest. It’s not about picking up a specific artistic tradition from a place but about finding spaces—often in nature—where I feel free to explore and create.
- Your work is said to capture fleeting emotions and everyday sensations. How do you translate those intangible feelings into paintings and sculptures?
— When I paint, I’m looking for that moment of pure connection—like a deep conversation with a friend or the flutter in your stomach when you see something beautiful in nature. I often sketch my models in a few lines, trying to preserve that immediate emotional spark. Later, I transfer those lines onto large canvases or into three-dimensional sculptures. But the essence is the moment—the vulnerability, the tenderness, the now.
- Nature seems to play a central role in your life and your creative process. Can you talk about that?
— Nature is essential to me—not necessarily as a direct subject of my art (though I sometimes paint flowers), but as the environment I need to exist in. I find it hard to function in big cities; the noise and crowds can overwhelm me. In nature, I can truly feel, be still, and observe without interruption. This quiet reflection then feeds my work, allowing me to stay connected to my own emotions.
- You’ve mentioned that you always paint from real models rather than photographs. How does this direct interaction shape the authenticity of your work?
— Working with live models helps me step out of my own head. I focus on the lines and shapes of their bodies, especially hands and feet, which I’ve always found intensely expressive. For me, a person’s hands can reveal far more than a carefully arranged face. This real-time observation and energy exchange keeps my paintings and sculptures alive.
- You use various mediums—acrylics, marble, bronze, printmaking. How do you decide which form best conveys what you’re feeling?
— I never plan it in a rigid way. I start with a sketch on paper, transfer it onto canvas, and let it evolve—often leaving it aside for days, revisiting it. Sometimes it needs color; sometimes it remains in white, layered with texture or a piece of cloth I happen to find. My sculptures also begin as sketches in clay, then get translated into marble, bronze, or other materials. It’s a fluid process guided by intuition more than intellect.
- Many describe your work as having an “unfinished” quality. What leads you to leave pieces so open-ended?
— I prefer to see it as capturing a moment in motion—leaving it open-ended. If I were to “complete” every line or enclose it in a frame, it would be too fixed. Life is never static; a second later, things can change. So yes, there’s a deliberate openness—a sense that the piece could shift and evolve along with you.
- Travel seems integral to your creative journey. Can you share how these experiences inform your art?
— My “travels” often mean living somewhere for months or a year, immersing myself in the local environment. Or I might drive for days through quiet countryside, stopping in small towns. This solitude, surrounded by nature, is how I reflect and reset. It’s not tourism—it’s seeking spaces where my mind and creativity can flow.
- In exhibitions like “She Said Yes,” your work engages in a dialogue with other art forms. How do these interactions influence you as an artist?
— I don’t collaborate frequently, but when I do—like with my close friend—it’s incredibly stimulating. We plan shows that might include music, dance, and poetry as extensions of our visual pieces. It pushes me to think outside the box, to see how my art converses with other mediums and to invite people into that conversation.
- How do you see contemporary art addressing personal and universal experiences, and where does your work fit within that landscape?
— I honestly live quite outside the mainstream art world—I don’t go to big-city galleries or follow trends. I create what I feel and trust that the right people will connect with it. Some collectors have never met me or seen the original piece in person before buying it. Something in my work resonates. Art is a language—either it speaks to you or it doesn’t. I’m grateful there are people who understand or are moved by what I express.
- The human figure is central in your art. What does its portrayal mean to you?
— It’s my language—it’s how I communicate emotion. I’m a very tactile person; I talk with my hands, I touch fruit before I buy it, I’ll rest my hand on a friend’s arm while chatting. That sense of physical connection translates naturally into my paintings and sculptures. Hands and feet, in particular, reveal honesty. A face can wear a mask, but hands and feet rarely lie.
- Looking ahead, are there new themes or mediums you’re excited to explore? What can we expect from your upcoming projects?
— I’m especially intrigued by new sculptural materials and technology. For instance, 3D scanning now allows every fingerprint impression in my clay model to be replicated in marble. I love that intersection of traditional craftsmanship and modern tools. Painting-wise, my evolution is more organic. I follow what’s inside me at each stage of my life.
As for exhibitions, I have some major shows in the works—Portugal this October–November (2025), then a wonderful project at MACA in Uruguay from December through February, followed by São Paulo in March–April, and finally Château La Coste in France in the fall (2026). Each will explore new layers of my conversation with the human form.
- Finally, how do you define success as an artist, and what legacy do you hope your work will leave?
— Success, for me, is freedom—the freedom to create from a genuine place and to live life on my own terms. It’s also about the feeling that my work resonates with others. I’m always delighted and honored when someone chooses my art—when they commission a piece or share that it evoked hope or another meaningful emotion. If my legacy is that I brought a moment of connection and beauty to someone’s life, that is the true reward.
Closing Thoughts
Eva Claessens’s art is a testament to unwavering conviction, emotional honesty, and the relentless pursuit of personal freedom. By painting from live models and embracing the fluidity of each piece, she reminds us that art—and life—is an ongoing dialogue rather than a fixed statement.
Her upcoming international exhibitions promise to expand this dialogue, weaving in new materials, performance elements, and collaborative synergies. As Eva continues to explore the ever-shifting potential of the human form, one thing remains constant: her art springs from a place of deep reverence for connection, nature, and the boundless possibilities of creativity.
Upcoming Exhibitions
Eva’s artistic calendar is bustling, with major shows scheduled on three continents. Mark your diary for:
- October–November 2025: Solo Exhibition in Portugal
- December 2025–February 2026: Show at the MACA Museum in Uruguay
- March–April 2026: Exhibition in São Paulo, Brazil
- September–October–November 2026: Château La Coste, France
These exhibitions promise a deeper look into Eva’s evolving dialogue with the human figure, nature, and emotion.
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