Eveline Handlbauer

is a sculptor / visual artist 
based in Austria.


Thick air
Parallel vienna
It´s better to get off quickly
Benefits & prototypes –
the meaning of vertical

Private room
Measuring the sky
Hang over balcony
Dickflüssig und dünnblütig

SELECTED WORKS from the last years
Egoiste / Finished fetish / Tower / Pleasure universelle / Untitled (Legs filled with oil) / Galaxy – milky way No.1 / Accidents coming out of nothing / Passenger No.2 / Corner / Your ego doesn´t like change / Master and servant / Parquet No.1 / Factors of production / Waves / Arch / Untitled (Half of an ellipse) / Heroes / Pleasure universelle / Sliced icecream / Round with edges / Stay in touch / Headrest study No.1 / Luggage / Hanging heart / When nox is minimal / Hair on rubber / Passenger No.1 / Backslash / Touchy walls / Sunset strip / Hole to go / Parkside building / Passengers No.3 / Parquet No.2 / Fixed but not stable / Comet – one, two, three bang / Untitled (Triangle) / Tongue / Elements of storage / Smile at me / They were happy, until they were not / Postcorona glamour / Untitled (Slipping) / Untitled (Statebuilding)



Living in a material world (...) 

Dealing with the complexity of human experience and perception is of central importance to my work, for example questions about desire, meaningfulness and alienation. I see the world as a „built and constructed world“ and my sculptures are an expression of what has developed and consolidated in the course  of modernization.
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Responsible for the content is
Eveline Handlbauer.
The content of this website may not be shared, published or used without my permission. All photo credits are mine, except when stated otherwise.

All rights reserved © Eveline Handlbauer 2022



Dickflüßig und dünnblütig

Best off Exhibition 

Exhibitionview Dickflüßig und dünnblütig

        I am interested in fluidity and formation, in set pieces and connecting parts, in gravity and exposure, in projection surfaces and manipulations, in truth and measurability, in transgression and standardization, in templates and clichés, in dissections and retouching, in the verifiability of states and forms of being, and in the parallelism between the human body and objects, as well as the restrictions and constraints to which both are subject.

        Material serves as a mental archive and image for this. Aluminum, plaster, rubber, metal, plastic, glass: all these materials function as nouns whose representation can be grasped as a mental as well as a physical construct and whose continuity is revealed through different, sometimes contradictory intensities.
        In the form of utilitarian objects such as tubes, rods, rollers, they are elements that are adapted in their functionality to the human body, supporting and sustaining it. Things and aids that are oriented to the requirements or body masses of the human being.

        Objects such as pulleys, pendulums, carabiners, suspension devices, gravity belts testify to a certain possible mobility and flexibility. Carry at the same time the promise of anchoring, fixing and security.

        I understand the artistic medium of the installation as a collage in space or a collision of assembled material thought processes in the impression of a parcours. Objects in space condense into a choreography of materials. The material is an expression of itself and at the same time steps beyond itself to imply narratives due to its nature and functionality. Order and symbolism are present and coalesce with appearance and authenticity.

            Thick blood is always more consumptive in nature than thin blood Therefore, thick-blooded people are also more voracious than thin-blooded people.

        Thick blood deriv es strength from its massiveness which is devoid of conscience. Thick blood is materially heavy and inert Thin blood, on the other hand, is insubstantial and careless.

        While thin blood flirts with emptiness by allowing ambivalences to exist thick blood creates saturation and fullness by attaching itself to the supposedly real. The former illusion proves enchanting, the latter sobering.

        Harmony and unison are products of subjective imagination. Seductive Illusionism. The attempt at staged seduction resembles a ritual sacrifice. One must please the gods, otherwise they will take revenge.