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Evans’s research interests are centred on the social, political and historical frameworks of diaspora, migration, global mobility and exchange. This cross-cultural discourse is paralleled by a secondary discourse that links methods of image production, ’fine art’ and ‘craft’, decoration and ornament.
Evans makes site-based installations using a variety of media (paper, rubber, paint, print and digital media) on a variety of surfaces (paper, walls, flooring, glass.) Her practice is fluid and mutable in terms of her approach and the materials used.
She is involved in articulating the emblematic devices of 2 cultures by employing equally emblematic methods of image production; stencilling, cutting, printing, pasting and stamping. Evans’s signature medium of brown paper is significant for its disposable nature used to depict figures that are cyphers for historically disposable lives.
Pattern is a strong leitmotif in Evans’s work. However, the work is rarely pure ornament but often reveals the historical, architectural or social threads of its’ source. The intention is to look beyond the façade of ornament to see what lurks there. There is always a dynamic between the space, the viewer, and the work in Evans’s practice, all elements being equally important to the success of the spectacle.
Evans has taken part in several exhibitions in the UK and Internationally including selected solo and group exhibitions at the Museum of Mexico City, Contemporary Art Museum St Louis, Baltimore Museum of Art (both USA), Arnolfini (Bristol, UK), Guangzhou Triennial (China), UNISA Gallery Pretoria (South Africa), EVA International (Ireland), MuZee Ostend (Belgium), 11 Biennale of Mercosul (Brazil) and Lagos Photo (Nigeria).
Evans is also the recipient of several residencies, awards and commissions, including Arts Council Grants for the Arts (2005 and 2015), the Smithsonian Artist Research Fellowship, (2010) and The Arts and Literary Arts Residency, Rockefeller Foundation, Bellagio Italy (2014).