Birgitte Evelyn is one the few female painters who is entirely devoted to erotic art. Her paintings ooze sensuality without being pornographic, and her works are often bought by couples who want to give each other a tangible token of their love. Therefore these paintings are not tucked away in the bedroom but enjoy pride of place in the living room.
It has never been Birgitte Evelyn’s stated objective to be path breaking in this field, however, that is exactly what she has achieved through her works, and thus she takes her place among the brave women who – each in their own way – have contributed to breaking down taboos on female libido. Aurore Dudevant, better known as the female author and provocateur George Sand (1804 – 1876) was one of the first who had the audacity to point out that female sexuality is a powerful force; however, sadly neglected. She became famous for her figurative language; Birgitte Evelyn’s paintings vivify the good headway women have made since then.
The female body is a promoter of pleasure and desire, and Evelyn’s works visualize the bond between two human beings with intense eroticism. The pictures are like a Chinese box where the motive unfolds before the viewer’s eyes, adding fuel to the fantasy.
The feminine aspect is the cynosure of all eyes, and through a number of years Birgitte Evelyn has created a unique figurative mode of expression that offers a glimpse of the female world of desire. The male often plays a more unobtrusive part in the paintings, he is, however, very attentive. The atmosphere and the motives are found in the borderline territory between fantasy and reality where desire and sensuality are portrayed in all facets. Passionate love is the main theme, often with a twist of humour or candour.
The figures are playing a prominent role on the canvas and they seem almost to welcome the viewer. This effect is attained because Birgitte Evelyn upholds the sensual atmosphere while keeping focus on one particular part of the body, thus filling the canvas right up to the breaking point.
Birgitte Evelyn preserves the thrilling moment where the left cerebral hemisphere is set free and the body surrenders to pure pleasure. The paintings dwell on the nape of the neck, the half-open mouth or the gentle caresses. A gaze, an embrace, a fragment of the body ignites the viewer’s own imagination. The human bodies are not depicted with photographic accuracy, but small details make the persons come alive on the canvas. This vibrancy makes the viewer want to reach out and touch a lock of hair gone astray, the sensual curves or an especially attractive feature.
The tint travels from glowing skin colour to nuances beyond black and white. As a contrast to these colours, and the figures in the painting, the artist frequently uses one significant colour, often a bright red, which draws the viewer’s attention in a moment of suspense, until the rest of the painting slowly unfolds. Birgitte Evelyn feeds the canvas with many layers of paint, until the scene appears with a unique glow.
The color red is also a recurring element in a new series of charcoal drawings which have become increasingly popular. They are always made on paper, never on canvas. Evelyn prefers to work with immensely soft sticks of charcoal, and uses her fingers diligently in order to endow the black color with depth and verve. These works are often completed with a brush of red crayon.
Evelyn is constantly seeking new ways of expressing herself artistically. Recently this resulted in a series of bronze figurines, naturally with focus on the beauty of the female body. Evelyn has been an acclaimed artist for more than a decade in her home country, Denmark, but her painting are increasingly in demand on an international scale. Recently Evelyn exhibited some of her works at the Gallery Liverpool in England, and she participates in an international competition: “Worlds Greatest Erotic Art of Today”.
