It’s fitting that Eva LeWitt’s Lower East Side studio was once an accordion shop. The layout of the property—from its narrow storefront entry to its small, alcove side room extended onto the back—mimics the shape of the musical instrument. The New York–based artist has always been drawn to the oddball architectural quirks that have managed to survive in the neighborhood. Her father, the late icon of conceptual art Sol LeWitt, had his own workspace right around the corner, and Eva spent much of her childhood there painting by his side. “The area,” she says, “is definitely home for me.”
At 34, LeWitt has received acclaim for her colorful, room-stretching sculptures, which incorporate sheets of plastic, rubber, and polyurethane to create suspended curtain-like forms that play with the purity of minimalism and the vibrancy of abstraction. Recent pieces, including a floral-inspired installation she did for New York’s Jewish Museum in 2018, have a blithe playfulness about them, the seeming lightness of form contrasting the rigor of material and composition.
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