Interview
Evelyn Rier
Every Art, born Evelyn Rier, lives and works amid the captivating scenery of the Dolomites, a UNESCO World Heritage site where nature’s vibrant colors and dynamic landscapes surround her. She reshapes forgotten objects and materials, altering their appearance, function, and meaning. Her practice investigates the transformative potential of fragility, giving new life to what is usually discarded or overlooked. Her new Endometriotic Neon Series employs charcoal and markers on unconventional surfaces—parchment paper, transparent sheets, pre-printed papers, and mesh—creating multilayered compositions where vulnerability and pain are converted into vibrant visual energy. Since receiving a diagnosis of advanced endometriosis last autumn, her work has increasingly focused on themes of uncertainty, inner strength, and the forms of power that arise from suffering. For Every02.22, endometriosis is not only a physical illness but first of all also a cultural one. Through her art, she seeks to bring it visibility and voice, becoming an advocate for those who live with this condition. Her artistic language blends introspection with expressive intensity, producing works centered on resilience, transformation, and vital force. She constructs her pieces through delicate layers of fragile materials—thin transparent papers and fine meshes—protected within plexiglass frames. Through this process, she invites viewers to accompany her on a journey of pain and rebirth, a path that has only just begun.
What is your background and how did you start your journey in the art world?
“I am an interdisciplinary artist living and working in the Dolomites, a UNESCO World Natural Heritage site. Growing up in Val Gardena, a region deeply rooted in artistic tradition, I was surrounded by nature and craftsmanship from an early age. This dramatic alpine landscape continues to shape my artistic language, not only as a source of inspiration but also as a physical presence within my work. I use recycled and found materials—such as textiles, paper, roots, polyester panels, and discarded objects—combined with acrylics, resin, and charcoal to create layered works that explore transformation, renewal, and the cyclical nature of life, with sustainability at the core of my practice. Before fully committing to art, I built a diverse professional career in finance, construction project management, and later as an Area Manager in pharmaceutical wholesale. This path gave me a strong sense of discipline, structure, and resilience, which still informs my artistic process today. My journey into the art world truly began in 2021 during the COVID lockdown, when I finally returned to a long-suppressed creative calling. What started as an intimate, almost meditative practice quickly evolved, and in 2022, I presented my work publicly for the first time, with successful exhibitions and sales. Over time, I developed a distinctive technique that merges painting and textile art by embedding recycled fabrics into polyester panels, creating tactile, emotionally charged works. Themes of human connection, love, and interdependence run through my practice, particularly in my ongoing Circle of Love series. More recently, following a diagnosis of severe endometriosis in autumn 2025, my work has taken on a deeply personal and activist dimension. Through my award-winning Endometriotic Neon Series, I use art as a voice for an often-overlooked condition, transforming pain, strength, and hope into multilayered visual narratives that reflect womanhood and the shared human experience.”
What inspires you?
“I get inspired by nature that surrounds me, by human connections, by colours that makes every little thing special and beautiful and actually by my diagnosis of severe endometriosis. I want to grow in this situation and every day, every painful moment, every little joy inspires me to shout out what this journey means to a woman and take the viewer with me, during this trip.”
What themes do you pursue? Is there an underlying message in your work?
“My artistic ethos is defined by a deep sense of responsibility toward sustainability and a desire for transformation. I give forgotten objects—such as old chairs, mirrors, nets, or roots—a new life, imbuing them with renewed aesthetic and symbolic meaning. My art becomes a meditative engagement with environmental protection: celebrating nature without exploiting it and using art as a medium of preservation. For me, art is a way to rethink not only objects, but also our relationship with the world, inviting viewers to question their perception of beauty and waste. Art is also a gateway to exploring human connection and emotion. The theme of love—conditional and unconditional—runs like a common thread through my work. What happens within us when we love, and what is required to keep love alive? These questions are reflected in my art through the symbolism and chemistry of love as expressed in history, language, and poetry. Since being diagnosed with severe endometriosis in the autumn of 2025, I have sought to become a voice for this primarily cultural and often overlooked illness. In multilayered works, I processes pain, anger, hope, strength, and the entire journey of suffering, inviting viewers to accompany me on a deeply personal exploration of what it means to be human and to be a woman. With my latest Endometriotic Neon Series, I have already received art awards. I want to be the voice for all these women who struggle and make know this illness, which is first a social and cultural illness. Because of this, diagnosis is made with 10 years of delay.”
How would you describe your work?
“Actually in my latest works, I am doing multilayerd artworks with fragile materials. I am trying to use metarals that reflects always the maening of the artworks. In this period, I want to show the fragility of life, moments and connections. I want to give to unused stuff a new meaning and a new form, I think I am transforming things. Such as I want to transform always bad end negative energy into positive and strong one.”
Which artists influence you most?
“As I was a child, I got most inspired by Dalì, Klimt and Caspar David Friedrich. I remember I stared for hours to their artworks. Actually I am influenced by Yayoi Kusama, Khalo and Olga Prinku.”
What is your creative process like?
“I see or feel something really strong inside me first, that makes me reflect more nights. Then I find materials, that match with what I am inspired of. I transform every piece and material to convey meaning and thoughts to the viewer. When I am working, I am working at least 5 to 7 hours without stop, I am like getting in a flow and trance where it is hard for me to find out. Every art piece is made within at least 50 to 60 hours. I want to give to my artworks also the energy of time I invested.”
What is an artist’s role in society and how do you see that evolving?
“An artist’s role is so various, I mean every artist can express and create artworks for whom a what he wants. Maybe only for himself, maybe to shout out a strong message, maybe to heal something inside of him. Art is beauty, art is actually the last thing that is really free. Art has not evolved, there where trends, there where explorations with new materials, but art is not something that evolves. Art has always been there and inside of us, in so many various ways that I think 'evolving' is not a terminus that describes something about art.”
Have you had any noteworthy exhibitions you'd like to share?
“My recent exhibitions include: ‘Art meets textiles’ in 2022 – Artelier Bozen Publication at ‘World Art Guide’ in 2022 – ‘Silver-Artist,’ I was also a finalist ‘Premio Artistico Giuliano Nozzoli’ in 2022 – Florenz; among others.”
Website: qrfy.io/p/bSpMZ_4Yun
Instagram: @every02.22
