Worm Women, held at the ECA on 13 March 2026, was Evie Cervine’s second solo exhibition and first public one. Staged in a quaint room on the first floor of the ECA, Worm Women was a stunning display of the artist’s creativity and passion.
As her art practice is entirely independent, the curation of the exhibition was also done independently. Evie’s passion for her art shines through the exhibition’s cohesive and holistic curation, which includes an innovative soundscape that includes sounds sampled from walks at the Meadows, conversations with her friends, and instrumentation by herself. There was also a platter of brownies and gummy worms to evoke the exhibition’s title, Worm Women.
The exhibition’s centrepiece was Cervine, a textile sculpture made from a blanket from her childhood home. ‘Cervine’, which means ‘deer-like’ in Latin, is Evie’s artist name. The rest of the exhibition was composed of paintings which featured Evie’s signature abstract style, and recurring bird-motifs.
Inspired by the ancient Greek tradition of ornithnomancy, Worm Women sought to question the conditions of modern love. Just as the Ancient Greeks read omens and prophecies from birds, Worm Women suggests that we are making the same ambiguous inferences from the actions of our lovers (and situationships).
In Retrospective, a piece composed of Evie’s original writings, the audience is transported into Evie’s youth. While we are invited to reflect on our assumptions of love and romance, we are simultaneously presented with an intimate and novel insight into the young artist’s mind.
Worm Women was a brilliant and diverse exhibition. From paintings, to sculpture, photography, and even sound design, it showcased the artist’s mettle in a variety of mediums. Above all, Worm Women was absolutely beautiful. It’s a shame it could only run for three hours.
Image Provided by Evie Cervine for The Student