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Garth Evans es crucial para la historia de la escultura contemporánea británica. Su obra, que de manera constante experimenta con las posibilidades de las dimensiones, peso, material y de la forma, involucra tanto el enfoque formal como el conceptual, centrándose en reconsiderar las posibilidades de la escultura. El sello característico de la larga e importante trayectoria de Evans es la manera en la que constantemente revisa su práctica y rechaza cualquier posición estética que se haya vuelto demasiado cómoda. Este enfoque ha dado origen a una serie de trabajos aparentemente distintos. Para conservar este esfuerzo por cuestionarse a sí mismo a lo largo de su carrera Evans ha tenido que mantener un riguroso nivel intelectual y emocional. Sus intereses actuales en trabajar con nuevos materiales y procesos con el fin de explorar los límites establecidos han dado como resultado esculturas hechas a partir de una amplia gama de materiales, como madera, acero, caucho, cerámica plástica y fibra de vidrio. Para Evans este proceso de exploración es profundamente personal; de acuerdo con el artista gran parte de sus piezas, incluso las más abstractas, son “detonadores y contenedores de recuerdos particularmente identificables”.
Cada una de las piezas de Garth Evans es ambigua, multifacética y completamente original. Toda su obra, sin importar el material, la forma o la técnica de producción, comparte características de una serenidad intangible,
misteriosa y cautivadora.
Desde la década de 1960 Garth Evans ha exhibido a lo largo de el Reino Unido y Estados Unidos, en las influyentes exhibiciones colectivas British Sculpture 72, en Royal Academy of Arts en Londres (1975). En 2013, el artista Richard Deacon curó la exposición retrospectiva de Garth Evans en el Yorkshire Sculpture Park. Su obra ha formado parte de diversas colecciones, como en Tate Gallery en Londres; Metropolitan Museum of Art, New York; Museum of Modern Art, New York; Victoria & Albert Museum y The British Museum. Ha recibido 18 reconocimientos incluyendo el prestigioso Guggenheim Fellowship, el premio Pollock-Krasner Foundation y la beca del British Council Exhibitions.
Garth Evans is central to the story of contemporary British sculpture. His work, which consistently experiments with the potential of scale, weight, medium, and form, engages both a formal and conceptual approach, focusing on the process of reconsidering sculptural possibilities. A hallmark of Evans’s long and important career is how he consistently reviews his practice, rejecting any aesthetic position that has become too comfortable. This approach has given rise to a number of apparently distinct bodies of work. Sustaining this self-questioning endeavor throughout his long career has required Evans to maintain an unusual level of intellectual and emotional rigor. His ongoing interest in working with new materials and processes to examine established boundaries has resulted in sculptures made from a diverse range of materials, including wood, steel, rubber, plastic ceramics, and fiberglass. For Evans this process of exploration is deeply personal; he states that many of his works, even when most abstract, are “triggers for and containers of particular identifiable memories.”
Each of Garth Evans’ works is ambiguous, multifaceted, and completely original. All of his works, no ma!er the material, form, and method of production, share qualities of an intangible, mysterious, and beguiling serenity.
Since the 1960s Garth Evans has exhibited widely across the UK and USA, including in the influential Group exhibitions British Sculpture ‘72, Royal Academy of Arts, London (1972) and The Condition of Sculpture, Hayward Gallery, London (1975). In 2013 artist Richard Deacon curated the survey exhibition Garth Evans at Yorkshire Sculpture Park. His work is represented in numerous collections, including Tate, London; Metropolitan Museum of Art, New York; Museum of Modern Art, New York; Victoria & Albert Museum and The British Museum. He has received 18 different awards including the prestigious Guggenheim Fellowship, the Pollock-Krasner Foundation Award, and the British Council Exhibitions Abroad Grant.