Richard Evans has a richly diverse and experimental practice that is realized through a combination of sculpture, sound, film, writing and curating. The vocabulary of Evans’s work comes from using approaches and methods from contemporary industrial practices, film, sound design, historical craft skills and traditional techniques of sculpture to create new, original works that explore fictional dislocation, how stories, symbols, objects, sound and structures of the past have created the illusion of a contemporary psyche.
His broad range of influences often focus on marginalized cultures from tribal and folk art to science fiction, fan art and urban mythologies reimagined as forms that relate to nature within narrative platforms that act as physical parameters such as frames, boxes, rooms and traditional narrative structures such as stories and audio narratives. Much of the physical elements of his work are filtered through experiences gained from working as a film and tv art director, the conceptual element of the work is autobiographical in nature stemming from personal diaries, relationships to objects and daily experiences.
Drenched in reoccurring themes and images sourced from nature, film, literature, art history, music and pop culture Evans’s practice cross-references subjects back and forth in time creating connections between ideas, anecdotes and mediums that inform different parts of his work. This time-travel approach creates an ongoing practice of research and exploration, creation and experimentation that often manifests itself in a series of sculptures.
Concerned with the borders of lived experience, the edges of dreams, histories, discarded images, memories and forgotten artists; past, present and future, real and illusionary and the performative act of making Evans creates work that reflects a point where reality drops off and illusion starts to take over, to produce work that acts out conversations between objects, forms, materials, narratives and our immediate environment.
The works become a map of our fractured cultural experience. Like memories of a landscape that come together, fall apart, repeat and sustain in a framed expanse of distant time and space forming a ghostly outline which implies but does not directly name its sources.