James Evans
Precious Details of Decay
1 APRIL - 5 MAY 2021
James Evans, Obvious Means of Uncertainty (2020) 45 x 35 x 35 cm, ceramic and iron
James Evans, Obvious Means of Uncertainty (2020) 45 x 35 x 35 cm, ceramic and iron (verso shot)
James Evans, Foofaraw (2020) 25 x 37 x 20cm, ceramic and metal leaf
James Evans, Foofaraw (2020) 25 x 37 x 20cm, ceramic and metal leaf (verso shot)
James Evans, Camber of Concavity (2020) 40 x 30 x 15cm, ceramic and iron
James Evans, Camber of Concavity (2020) 40 x 30 x 15cm, ceramic and iron (verso shot)
James Evans, Aureate (2020) 45 x 25 x 20cm, ceramic, iron and metal leaf
James Evans, Aureate (2020) 45 x 25 x 20cm, ceramic, iron and metal leaf (verso shot)
James Evans, Attenuated By Fetters (2020) 50 x 35 x 35cm, ceramic and iron
James Evans, Attenuated By Fetters (2020) 50 x 35 x 35cm, ceramic and iron (verso shot)
James Evans, Dynamisme de Chien (2020) 16 x 40 x 26cm, ceramic and metal leaf
James Evans, Dynamisme de Chien (2020) 16 x 40 x 26cm, ceramic and metal leaf (verso shot)
James Evans, Are You Even For Real (2020) 30 x 53 x 38cm, ceramic and metal leaf
James Evans, Are You Even For Real (2020) 30 x 53 x 38cm, ceramic and metal leaf (verso shot)
James Evans, Soother (2020) 35 x 50 x 35cm, ceramic, gold leaf and iron
James Evans, Soother (2020) 35 x 50 x 35cm, ceramic, gold leaf and iron (verso shot)
Our latest virtual showroom features Precious Details of Decay, the new series of ceramic and iron sculptures by James Evans. While Evans’s concept remains the same, he continues to push the boundaries of his practice. Using a new visual and technical language, he explores his interest in the relationship between man-made objects - primarily architecture and industrial objects - and flesh, then setting them in an indeterminable age.
‘After a long career of exploring form in clay Evans continues to raise the surprise, finesse, and allusive wit of his sculpture. This is clay in disguise. The dry rusty iron surface, deceptively different from a glaze of any kind, is layered over resin on the slightly porous surface of the fired clay, and weathered afterwards with salts. So simple and sophisticated is the dialogue between the types: airy and earth-bound, ozone and mud – the residues of industrial waste and the glistening curlicues of enlightenment.’
- Alison Britton
Images by Valerie Bernardini
For more information please contact Tatjana Marsden or Siobhan Feeney
info@marsdenwoo.com
James Evans
Precious Details of Decay
1 APRIL - 5 MAY 2021
James Evans, Obvious Means of Uncertainty (2020) 45 x 35 x 35 cm, ceramic and iron
James Evans, Obvious Means of Uncertainty (2020) 45 x 35 x 35 cm, ceramic and iron (verso shot)
James Evans, Foofaraw (2020) 25 x 37 x 20cm, ceramic and metal leaf
James Evans, Foofaraw (2020) 25 x 37 x 20cm, ceramic and metal leaf (verso shot)
James Evans, Camber of Concavity (2020) 40 x 30 x 15cm, ceramic and iron
James Evans, Camber of Concavity (2020) 40 x 30 x 15cm, ceramic and iron (verso shot)
James Evans, Aureate (2020) 45 x 25 x 20cm, ceramic, iron and metal leaf
James Evans, Aureate (2020) 45 x 25 x 20cm, ceramic, iron and metal leaf (verso shot)
James Evans, Attenuated By Fetters (2020) 50 x 35 x 35cm, ceramic and iron
James Evans, Attenuated By Fetters (2020) 50 x 35 x 35cm, ceramic and iron (verso shot)
James Evans, Dynamisme de Chien (2020) 16 x 40 x 26cm, ceramic and metal leaf
James Evans, Dynamisme de Chien (2020) 16 x 40 x 26cm, ceramic and metal leaf (verso shot)
James Evans, Are You Even For Real (2020) 30 x 53 x 38cm, ceramic and metal leaf
James Evans, Are You Even For Real (2020) 30 x 53 x 38cm, ceramic and metal leaf (verso shot)
James Evans, Soother (2020) 35 x 50 x 35cm, ceramic, gold leaf and iron
James Evans, Soother (2020) 35 x 50 x 35cm, ceramic, gold leaf and iron (verso shot)
Our latest virtual showroom features Precious Details of Decay, the new series of ceramic and iron sculptures by James Evans. While Evans’s concept remains the same, he continues to push the boundaries of his practice. Using a new visual and technical language, he explores his interest in the relationship between man-made objects - primarily architecture and industrial objects - and flesh, then setting them in an indeterminable age.
‘After a long career of exploring form in clay Evans continues to raise the surprise, finesse, and allusive wit of his sculpture. This is clay in disguise. The dry rusty iron surface, deceptively different from a glaze of any kind, is layered over resin on the slightly porous surface of the fired clay, and weathered afterwards with salts. So simple and sophisticated is the dialogue between the types: airy and earth-bound, ozone and mud – the residues of industrial waste and the glistening curlicues of enlightenment.’
- Alison Britton
Images by Valerie Bernardini
For more information please contact Tatjana Marsden or Siobhan Feeney
info@marsdenwoo.com