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Born in the small village of Llanelli in South Wales, Evans developed a love of photography and clothing from his father at an early age. (He fondly recalls his mother’s horror when his first couture purchase – a pair of Jean-Paul Gaultier jeans – was only for his father to comment on the importance of high-quality fabrics.) He moved to London in the mid-1970s to study sculpture at the Saint Martin School of Art (later to become Central Saint Martins) and film and video at the Royal College of Art under the direction of the themed filmmaker. Meaning Texture Peter Gidal. During this time, he befriended other punk and queer artists in London; among them are Leigh Bowery, Derek Jarman, Michael Clark, Tilda Swinton and Genesis P. Orridge, all of whom will make significant contributions to the punk art aesthetic.
In the following years, Evans assisted Jarman in the films The Angelic Conversation (1985) and The Last of England (1987) and contributed to music videos for post-punk groups such as The Fall, Psychic TV , The Pet Shop Boys and The Smiths. His own short films “Still Life with Phrenology Head” (1979), “Epiphany” (1984) and “Degrees of Blindness” (1988) (starring young Tilda Swinton) were purely conceptual. more conceptual and obscure, combining structural and phenomenological themes with the ravishing eroticism of Aleister Crowley and Kenneth Anger. In this way, the young filmmaker was able to navigate between avant-garde and often dogmatic artistic institutions such as the London Filmmakers’ Cooperative and the following underground pop and queer subcultures. That just popped up all over England.
During the 1990s and 2000s, Evans’ persistent fascination with color, light and “soft” architecture extended beyond the viewfinder and into the use of neon lights, spotlights, Murano glasses, fire, and more. plant life, mirrors, and mechanical devices of his own creation—although, like Duchamp and Marcel Broodthaers before him, the concept and language underlying the classification of materials are both important. same. His work, as he explains, is part of a larger “interrogation of the prying regime.” Perhaps the most recognizable of Evans’ catalog are his neon sculptures, which vary greatly in size and shape, from wall-length fragments and star trails to tiny grids. , simplify. Their use of negative space, layered lighting, and minuscule natural light is reminiscent of Frank O’Hara’s humorous quote about Times Square: “Neon lights in daylight are great fun. .” Sometimes accompanied by a minimum score or a process created by Evans himself, they also emphasize the ephemerality of atmosphere over matter, providing an emotional as well as speculative experience that feels intimate. more spiritually with Lucio Fontana’s mid-century lighting environment than most contemporary installations since—so-called “neon artists.” (“You look through these—you don’t just look at them,” he instructs me in a professional tone.) Photo: Alex Yudzon. Copyright: Cerith Wyn Evans
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