The art of Eva weis Bentzon has its beginning in the contrasts and harmonies of the brush strokes and colours. She swoops down like a bird of prey with her flying brushes on the surface, she decorates the ceramic body and the glass with rythms and fields, which mirrors the inspiration of the creative moment?..

Because she is created to exspress herself in the art of painting.

Pierre Lübecker, ’Flyvende pensler’ -
anmeldelse af udstilling i Nikolaj 1987

Læs hele anmeldelsen her

These paintings are unreservedly acts of celebration. But although they draw continuously on the inspiration of nature (the richness of which is part of their subject) they rarely represent observed motifs in any direct way. While many telling analogies with natural appearances emerge, the crucial imagery in these pictures, though often formed of the very same marks, is metaphysical in origin.
Richard Morphet, Former Keeper of the Modern Collection, Tate Gallery, fra katalog til Århus Kunstmuseum/Nikolaj udstilling i 1987

There is an important coming into existence in these paintings, and a sense of this proces can set you on the track of a sense of reality beyond the ordinary.

Tine Byrckel om Eva Weis Bentzon, 1993

The search for accomodation between figurative and non-figurative painting continues to fascinate artists and their public. It is one that Eva Weis Bentzon is facing honestly in her own way.

Clearly, she is aware that all painting, whether conveying recognizable content or not, is abstracting reality, and that on the other hand painting unrelated to the visual experience remains outside the scope of art. 
Thomas Messer, Director Emeritus, Solomon R. Guggenheim Museum, 2004.