Born in Caracas, Venezuela, 1964. Studies in the School of Sociology and Anthropology “Universidad Central de Venezuela”. Moves to Washington D.C. in 1983 and receives B.F.A., Bachelor of Fine Art. Catholic University of America. She presently lives and works in Miami, Florida
Evelyn Valdirio’s art is enchanting, magical, derived from a spiritual realm that is revealed to us through a soul that aspires to offset every weakness with optimism. Through complex symbolism that are logical connections to the human and social conditions. She poses questions of deep intellectual meanings while allowing the viewer to mediate a kind of elusive beauty, often barred from today’s art. She encourages the exploration of image and surface to gaze within, as if peering into a mirror, ourselves and life’s secrets.
Valdirio maintains a firm commitment to creating works that still appeals to one’s sense of beauty and desire. They are conceptually multifaceted and technically complex. Emphasized by layers and field of colors, her work captures protagonist in dreamlike settings where memory and nostalgia reign and distant times are summoned. In 1995, she turned more critical towards the Hispanic American transmigration’s, exploring the dimensions and concern of the migrant. In 1998, she introduced for the first time her signature rose with a series of sensual-erotic paintings that depicted this aesthetic icon in diverse surrounding.
Her work steams from the erotic, from desirous manifestations, thoughts, textures and sensual overtones where breasts, lips, bodies are fortuitous terrains, inlets, rivers and plateaus, where animals, real or imaginary, inhabit tangible lands or fantasy dreamscapes.
Her esthetics move within the realm of design and paintings, between Architectural Digest and modern art museums. The works of Evelyn Valdirio, traverse life cycles: being born, maturity, death, but not from the succession of time, but rather its confluence.
According to Evelyn, her work is the nexus which links her need for constant communication as “human being” with her sensible relationship to the cultural and spiritual surroundings that encircle her. The interconnection established between the spectator and her oeuvre distinguishes her work as visual pleasures echoed with tonalities of conscious awareness and discernment. And, after all, that is the artist intention.
Most of Evelyn’s pieces are categorized into series such as Hispanic American Transmigrations, Homage to Rimbaud, Federal Reserve Note, Erotic-Sensual, Angels, among others. But it is the rose, spiritual blue and earthy red, her most dynamic and complex metaphor, her own omnipresent language. It has come to envelop everything; from the most passionate love to its ideal, the most sublime and discreet eroticism to the most apparent and direct incarnation of anguish and pain…the embodiment of existential mastery and fortitude.
Evelyn has learned much more from the silence than from words, from a silent, subtle periphery than from the concurrence of narratives. And she has gained much by remaining in the” shadow of the silent majorities”. Valdirio’s works, from the stance of art, seem to repeat that phrase coined by Julio Cortazar in Around de Day in 80 worlds: “Man is searching the moon, but twenty centuries ago a poet already knew the spells capable of lowering the moon to earth, in the end what’s the difference”.