Extracts from publications and reviews:
”…Merleau-Ponty gives a detailed description of how the constitution of the body and the experience of being in a body forms our consciousness to a higher degree than what we see with our eyes: “thus we do not recognize the appearance of what we have often seen, and on the other hand we immediately recognize the visual representation of what is invisible to us in our own body”. We interpret and understand the world through our bodies. Here we have a key to why Eva Hild’s sculptures speak so powerfully and directly to the beholder. Their portrayal of matters which we have physical experience of – exertion, pressure, resistance, rest, penetration and enclosure – find resonances in our own bodies and thus in our consciousness. In this sense the sculptures offer us an interaction, an opportunity for us to stretch out and occupy them. They are incorporated into the bulk of our own body…”

From the book ”Eva Hild”, text Love Jönsson, Carlsson Bokförlag 2009

”…Give someone a piece of paper and ask them to draw how they feel. The result will be doodles, chaos, sunshine and flowers, devils and horrific faces. Eva Hild’s forms are also self-portraits, but reduced to abstract skeletons and husks. In this sense they are both fossils that have been emptied of flesh and life but also sketches of the new life, ready to be charged by the circumstances that happen to surround them. Everything is to be found in the balance between shadow and light, in the fragility and the supporting material dreams. “I have fairly brutal and troublesome feelings inside me and I deal with them while I am working with the clay. The final appearance is often surprisingly harmonious and this is my solution. The form is my assurance.” Draw a line across a piece of paper. The horizon. Everything is possible. Draw your finger along the long path of one of Eva Hild’s looping ceramic edges. You will understand. A splintered life can become whole. This is precisely what Eva Hild’s sculptures manifest: form as time, as possibility and expectation. They are optimistic constructions.

From the book ”Eva Hild”, text Petter Eklund, Carlsson Bokförlag 2009

”One is easily moved by Eva Hild´s sculptures. Perhaps because of their strong expression, and often large scale, they tend to speak directly to the body. The communication is physical and immediate. Somewhat paradoxically, this relative ease of access is carried forward by an obvious reduction of the artistic means of expression. The stoneware is smooth and of the same thickness throughout. The color is white. The sculptures radiate austerity and integrity, perhaps even a fear of saying too much. Color and form are reduced to a few basic elements: monochromatic surfaces alternating between convex and concave…”

Catalogue ”Twelve Hertha Bengtson grant recipients”, text Love Jönsson, translation Rebecca Landmer, 2002

”…Or, to put it more precisely, empty space is her material. And this empty space is drawn into her forms and becomes one with them. One cannot imagine one without the other. When one consider Eva Hild´s forms, one sees that the empty space has just as much character as do her flowing lines. In the final analysis this eradicates the difference between outside and inside, surface and depht. So if her forms represent something it is in a negative fashion, like a black and white film waiting to be developed.”

From the book ”Voices – Contemporary Ceramic Art from Sweden”, text Sara Danius, Photo Patrik Johansson. Carlsson Bokförlag 2006

”…Subtle curvatures are explored, the works display soft, almost powdery, matte surfaces that evoke the texture of skin, and tumescent bulges suggest both public and private territories of the body. At the same time the shapes are reminiscent of the delicate writhings and flutterings of underwater nudibranches familiar to viewers of nature television documentaries…”

Article in American Ceramics Magazine14/3, 2004, text David McFadden

”…In any event, consider the astonishing sculptures of the young Swedish artist Eva Hild, a new star in the ceramics firmament. Her white, paper-thin, hand-built forms are full of holes and curve endlessly in on themselves. Made of a fine stoneware with a white matte glaze, they might be berserk Möbius strips, New Age mollusks or models for loose-limbed mathematical equations… But they still have plenty left over that is all their own, and it flows out of them like some sort of pure, gorgeous, momentarily materialized sound. Among the parallel art worlds that are Chelsea, they deserve to be heard by all.”

Review in New York Times, 2007 by Roberta Smith

”Given the complexity of Eva Hild's forms one might imagine that she would need a computer to calculate them. This is far from being the case. Sometimes she makes a few sketches in advance but the details cannot really be foreseen. Somehow she manages to make clay, such a sticky and physical material, seem immaterial. Yet she could never produce her forms in any other material. Clay is wonderfully plastic and allows itself to be constantly reworked… Despite the high degree of abstraction in Eva Hild's sculptures they have a narrative quality that reflects the various phases of her life. Though her technique is virtuosic, yet her work never seems determined by technical considerations…”

Article in Ceramics Art and Perception 55/2004, text Kerstin Wickman.