Upcoming:
The Metamorphoses of Ovid and Apuleius, with the Métamorphoses Association, Bretteville-sur-Odon, 2027.
Abysses, group exhibition with the Dire Autrement collective, La Bouée, Cherbourg, 2027.
Eve(s)
"Originally, the word trauma referred to a skin injury: trauma, in Greek, means wound."
Nineteenth-century Symbolism was hardly feminist. More than in other centuries, women were portrayed as terrifying monsters, restrained by society in both their sexuality and their rights.
The twenty-first century has arrived, confronting us with a society shaped by a form of capitalism that claims to be liberal, where everything seems permitted. Beneath this veneer, and despite claims of fluidity and of the right to control one’s own body, sexuality, and choices, social expectations reveal themselves to be far more conservative than they might appear.
Every individual who does not conform to the desires of capitalism has become a monster, whatever their gender or aspirations, condemned, whatever happens, to be torn apart between contradictory and unattainable demands.
The Eve·s series questions our relationship to the feminine, our capacity to assert ourselves, and all those choices which, however innocuous they may seem, contribute to shaping society.
In the light of works such as Delphine Horvilleur’s En tenue d’Eve : féminin, pudeur et judaïsme (Grasset, 2013), these nude portraits seem to anticipate the protest movements through which women defend their right to control their own bodies and minds.
These series are intended to be developed with different models.
accompany the works with a text:
I am Eve
Skin Tunics
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This series, developed primarily as triptychs in two different formats,
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on the left, “take the fruit”;
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in the centre, “hesitate”; and
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on the right, “renounce, but not without regret”,
opens up numerous possibilities for playful installations. Almost kinetic in nature, it invites the viewer to make their own film.
It resonates painfully with the fate of Afghan women, and with that of all women whom certain groups seek to hide behind veils, behind so-called immodest bodies, or behind contrived rhetoric — groups that freeze texts into immutable doctrines, confine women within their own bodies, or question their right to abortion.
Léna h. Coms, Eve on the Left, in the Centre, on the Right, acrylic on canvas, 70 × 40 cm, 2021.
View of Léna h. Coms' solo exhibition, Eden Garden, at Michel Frérot venue, Thaon, 2023.
Polyptics of Eve, skin tunics and Eve 68 et 69.
Léna h. Coms, Eve to the left, acrylic on canvas, 70x40 cm, 2021
Léna h. Coms, Eve in the center, acrylic on canvas, 70x40 cm, 2021
Léna h. Coms, Eve in the center, acrylic on canvas, 70x40 cm, 2021
Léna h. Coms, Eve in the Centre, acrylic on canvas, 70 × 40 cm, 2021.
Léna h. Coms, Eve to the right, acrylic on canvas, 70x40 cm, 2021
Léna h. Coms, Eve to the right, acrylic on canvas, 70x40 cm, 2021
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Léna h. Coms, Eve 68 (She Could Have Started a Revolution), acrylic on canvas, 130 × 97 cm, 2021.
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Léna h. Coms, Eve 69 (Nothing to Do with the Position), acrylic on canvas, 130 × 97 cm, 2021.
Léna h. Coms, Eve, acrylic on canvas, 70x40 cm, 2022
Léna h. Coms, Eve, acrylic on canvas 70x40 cm, 2022
Léna h. Coms, Eve, pencil on Canson paper, 70 × 50 cm, 2022.
In the middle is the one who doubts, on the left the one who made the choice to take, on the right, the one who made the choice to give up but who still looks with envy.
if Eve I is consumed by fear, Eve II is proud, proud to have made this choice (but did she really?)
"Adam and Eve lived in the Garden of Eden. God and Jesus came to talk to them. There were many trees in the garden. God said that Adam and Eve could eat the fruit of all the trees except one."
(Genesis 3:8; 2:16, 17)
"Satan said the fruit was very good. He told Eve he would give her wisdom. She would know good and evil. Eve decided to eat the fruit."
(Genesis 3:4, 6)
What interests me the most with Eve is the guilt, the doubt. The one who will decide our whole life, and who governs our whole society.
She is both the symbol of the first woman and the first femme fatale. She is the one who chooses wisdom, education, and thus leaves the realm of childhood.
Adam and Eve were not to have white skin. White skin is a genetic evolution. The first men from the Afro-Caucasian basin (let's be wide) were more likely of African type than Swedish.
Genesis would have been mistranslated, Eve would not descend from Adam's rib, but would be at his side, implying an equal sharing of humanity (and its guilt). Thus, the patriarchal-virilistic tradition of our Judeo-Christian society is unfounded (the same goes for the three monotheistic religions). Translations resulting from a fear of women. The habit of pronouncing the name of Adam before that of Eve reveals male dominance.
Let us add the words of Pacôme Thiellement: "they are condemned because God is jealous" (alternative Genesis), France Culture, "Mauvais Genre" presented by François Angelier, December 29, 2018, At the gates of Eden: Claude Schopp, Pacôme Thiellement. Where we also learn the true identity of the model of the Origin of the world (Courbet), a discreet woman.
Horseshoe device around Penelope's yurt during the festival1,2,3 women at the Cultural and Sports Crossroads of Mondeville (March 2023). Exhibition of three artists alongsideRose Warda and D'aliducha aliducha.
Lena h. Coms, The temptation of Hélène (portrait as Eve), acrylic on canvas, 70 x 100 cm, 2011. (private collection)
Léna h. Coms, Eve I, acrylic on canvas mounted on a handmade black stretcher, 74 × 49 cm, 2008.
Léna h. Coms, Preparatory Triptych for Eve, acrylic on canvas mounted on a handmade stretcher painted black, 75 × 100 cm, 2009.
Léna h. Coms, Eve II, acrylic on canvas mounted on a handmade stretcher painted black, 75 × 58.5 cm, 2009.
Léna h. Coms, Eve III, acrylic on canvas mounted on a handmade stretcher, 82 × 51 cm, 2009.