Approved: 16.08.2006

James Evans

Archived
Approved: 16.08.2006

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

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  • Location: London
 

Biography

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.

CV & Education

Protected Programme Projects (PPP) 2006 - Freddie Robins on James Evans Qualifications and training 1987 - MA in Ceramics, Colorado University, Boulder, Colorado, USA Solo exhibitions 2012 - Abugation, Marsden Woo Project Space, 17-18 Great Sutton st. London 2007 - James Evans, New Work, Galerie Sandra Buergel, Berlin, Germany 2005 - Plaisantin, Cosa Gallery, London Group exhibitions 2011 - British Ceramic Biennial, The Potteries Museum & Art Gallery, Stoke-on-Trent 2008 - 'Willkommen to Reality', Galerie Sandra Buergel, Berlin, Germany 2005 - COLLECT, V&A Museum, London 2004 - Art on the Grass, Kent 2004 - COLLECT, V&A, London 2002 - Hypoplastic, Midlands Arts Centre, Birmingham, UK 2002 - The 6th International Ceramics Competition, Mino, Japan 2001 - Jerwood Exhibition, Crafts Council Gallery, London