Evan’s practice is currently in the state of rigorous questioning. The artist is trying to re-evaluate and take ownership of his work by experimenting with the application of paint, the painting process and various source materials. He is very interested in the physicality of painting: the performance, the struggle, the science involved. The artist does not want his work to be purely about the process of painting though, and he does not want his work to be solely conceptual, but to occupy a middle ground between the two.
Drawing is the biggest aspect of Evans’ ideas gathering, and this really acts as a first point of call when he comes across a potential idea. He draws to evaluate his initial response, and then, through a multiple of reworking, he can then assess the potential of further exploration. Evans finds drawing to be a very fast, spontaneous and carefree way to work, and he tries to transfer the same methodology to painting.
Evans takes a huge inspiration from the work of others; many artists have a strong influence on his work. This is due to the state of his practice, the questioning process that he is going through. Evans has been strongly compelled recently by exhibitions by artists such as Rose Wylie, Anselm Kiefer, Frank Auerbach, Phillip Allen, and Gary Hume. He tries to absorb other artists’ practices, by questioning what the artist is doing, physically and conceptually, and then incorporates relevant elements into his own work, creating a piece which is unique in itself, but that also includes references to what has gone before.
Fundamentally Evans’ practice is based around the act of painting, and how the painting process can advance his initial ideas and drawings.