James Evans

James Evans It is my intention with the outline and form, that the pieces conjure up an infinite number of references, at the same time remaining uncluttered and as economic with line as possible. The references are sourced from nature, machinery, architecture and anatomy, and usually remembered for the way one is juxtaposed against another. Juxtaposing these elements in making the of the work is the fun part. It is an exploration, and often stories surface that I had not foreseen. Positioning a slumping or bloated soft form next to a hard machined edge is a simple contrast, but then how to marry these two together to create a conceivable narrative is the playful part. The painful part for me is finishing the surface of the work as it is time consuming and fiddly, not easy for someone that could be described as a fidget. That said this is when the work reveals its final shape rewarding its maker with new perspectives. The finished surface is often decided during this process, as I have got up close to the work rotating it this way and that checking for unwanted marks or blemishes. The surface on the present ‘rust’ works are for me evocative, and conjure up childhood smells, tastes and textures. I am reminded of the times I played on, in and around East Lane’s coastal sea defences from the two World Wars in the village of Bawdsey in Suffolk. Here parts of the shingle and flint coast are held captive in concrete waiting for the sea to release them once more. Protruding from these grey masses are rusty lumps of damp smelling iron that were either once structural, or footings for large gun emplacements. Mimicking the rust has many outcomes one of which is giving the work a sense of history, a relic. The ‘rust’ work with the premature ageing appear rather static, frozen in time from when they were last neglected, where as the darker pieces with glaze appear molten and in a state of flux captured in the present. read full statement

Location London