The local newspaper „Braunschweiger Zeitung“, 18th Sept. 1999 (Nina Brüwer)

...Her way of creating is like the development of a grain. The shapes grow slowly, a process of opening, reception, an adventure whose end is not known. She describes her approach as “letting something develop”. Just as goblets of fantastic plants, her sculptures open themselves up to the room enquiringly and in turn, form spaces themselves. The borders between inside and out are fluid. The room and the sculpture appear to interfuse.
Simultaneously, the symmetrical form, the concentration on the centre, radiates calm and certainty. The sculptures are metaphors for the process of creation. The exhibition, “Objects born not made” at the city museum in Braunschweig, collection of forms, together with Dorothea Chabert.

Local newspaper, “Braunschweiger Zeitung”, 2 July 2003 (Harald Duin)

....There are only a few in Germany who dare attempt ceramic works of such dimensions. Each step must be taken with utmost care and love …
…An archaic art which has nothing in common with today’s attitude of art fabrication. The church, St.Ulrici-Brüdernkirche, with its aura of eternity is the perfect location for these ceramic creations..
Exhibition in the cloister of the St.Ulrici-Brüdernkirche in Braunschweig, May – August 2003

Eva Sabine Kunz’s exhibition opened on the 3rd May 2003 in the cloister of the St.Ulrici- Brüdern church in Braunschweig, “ceramic sculpture”. The development of Eva Sabine Kunz’s sculptures is, as the artist says herself, a reunion of opposites: within the material, which can by all means be brittle, and which is sculpted into a form capable of bearing great weights. In the shape itself, which must be sculpted using opposing shapes, since otherwise, the matter sculpted within would appear to be self-destroying. In the object’s expression which presents the beholder at first sight with its bulky exterior, a breathlessness at the amplitude of the form; but which still forces the eye to realise the interior, in a way absorbs the eye and forces it to find a form equal, to discover such a form. In the sculpture’s effect, which is static, fired at 1200 degrees Celsius, which can no longer move, but still does: which appears to breathe in its hollows, which seems to grow in the veins of its identical leaves, in its blood vessels
….the process of becoming is just important as being, the process of creating as important as the completed work of art … its growth a dialogue between the material and the artist. The form is decided in a way by itself …
…Eva Sabine Kunz searches for limits with her work: her own physical and intellectual limits
during the process of creating. She pushes herself to the limits of stability and plasticity, her sculptures are just as much inner as outer spaces, they are there to be discovered and recognised by the beholder as visible, but also as the effigy of invisible forms, the archetypal …
…Their human dimension forces us over and over again to revert to ourselves, allows us to ask questions again and again, precisely to do with being and becoming. Their consonance from within and without is like a pure sound …
…All this is reflected by the formidable but filigree, almost weightless sculptures which are waiting to be discovered this evening. And there is hardly a better place to do so, such a refuge of tranquillity calling for concentration and contemplation, which forces one to move slowly around the architectonic room and the elementally architectonic sculpture forms, which enables discovery beyond the fleeting glance.

Dr. Annette Boldt-Stülzebach, cultural institute of the city of Braunschweig