At first glance the space resembles a studio more than a gallery: long strands of painters tape, unstretched canvas mounted to the walls, books, low resolution printed out photos and stacks of paper implies that the audience is literally “stepping into” a work in progress. Evans utilizes the gallery as a site of production, rather than an endpoint in which show a “finished” product. By revealing cultural references influential to his work such as theoretical texts, art historical documents, exhibition press releases, digital images, etc., Evans creates a web of interconnected ideas.
Leonie Bradbury, Director and Chief Curator of Montserrat Galleries describes the artist’s work as a network. “The artwork exists in a state of flux, continuously transitioning, wavering between assembled and dismantled, reconnecting and disconnecting, configuring and reconfiguring to form moments of coalescence.” The inclusion of both found objects (tape, photos, books) and his fine art paintings work together to illustrate an expansive view into Evans’ history and biography as an artist. The flux between big picture thematics and personal items within the installation creates a constant loop of informing and influence.