2020 – 2024, studied at the Faculty of Arts at the Technical University in Košice, in the Studio of 3D Free Creativity  led by Doz. Oto Hudec. 2024 – 2026, continued her Masters study at the FINE Arts Faculty of the Technical University in Brno, in the Environment Studio led by Barbora Klímová. 2024, 2025 and 2026, a finalist in the Painting Competition, winning 3rd Prize in 2025.

Eva Vaňová moves on the frontiers between visual art, social research and social activism. Primarily, she engages in participative projects carried out in cooperation with marginalised communities. Through these ventures she explores the potential of art as an instrument of inclusion, education and deepening interhuman relationships; in this regard, she lays particular emphasis on overcoming social and cultural barriers. She is exceptionally active in collaboration with children’s communities, whose creativity she stimulates in workshop forms (children from children’s homes, Roma and autistic children, children with hearing difficulties, children from the Ukrainian community in Brno). Hitherto Vaňová has presented her painting in a conceptual register, emerging as a ‘secondary’ result of her art projects. As Vaňová emphasises, participative art represents a means of overcoming the boundaries between artist and viewer, and simultaneously a possible instrument of social transformation. 

Her final entry Sediment of the Present (2026) emerged in a period of reflection on the artist’s many years of work with children from excluded communities. The painting functions as a sediment of relationships, experiences, emotions, systemic obstacles and child spontaneity, which are gradually recorded in the material and the painterly process. This is an important moment of halting, maybe of reevaluation and reflection on her own activism – its real potential, also its limits. As the artist herself says: “The individual elements communicate one with another; they enter into tension and conflict in a similar way to the processes I have observed and experienced during participation. The painting is a subjective capturing of the process, with postindexed and affective memory, in which the material carries experience translated to a visual form.” Vaňová again presents painting as a space where experience is not transcribed to an illustrative portrayal but remains present in the form of a material trace. The painting is not a documentation of specific events; rather, it is a visual record of their emotional and affective echoes. In contrast to preceding works which emerged as a direct product of participative processes, Sediment of the Present represents a moment of turning, towards feeling her own experience more deeply.