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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
His new exhibition “no field of thought…”/“…no vision” at the Marian Goodman Gallery is divided between simultaneous exhibitions in Paris (“no field of thought…” think…”) and New York (“…no vision”), and represent what Evans calls “two chapters” of the same work. Among the works on display is a collection of neon-lit baking sheets shaped like theatrical backdrops and inspired by Frank Stella’s genre-defining Black Paintings series; The erratic beats of neon tubes and the perspective lattice of light on light are hypnotic and disorienting. In Paris, they are presented next to light columns showing Brion Gysin’s psychotropic dream machines, as well as a number of cell phones hanging by a cracked windshield (part of the continuity of the interpretation of the story). Evans on Duchamp’s Mammoth Dada installation, The Bride Stripped Bare by his Bachelors, Even). Taken together, these works offer a different vision of the numerous modern masterpieces as well as a self-contained archive of light from the last century.
In a recent conversation, the Welsh artist and vivacious person discussed his personal history with cinema and light, his place in British experimental film and the role of the dapper covered in art and death. Talkative and wryly self-delusional, Evans often speaks cryptically and seems happiest when turning the underlying topic of our conversation into the art of the conversation itself. Vogue: I have to admit I’m a bit torn between asking abstract questions. or the conceptual questions your artwork tends to provoke and— Cerith Wyn Evans: …And the bitch needs money to pay the rent and needs to ask dumb questions, right? Come on, it’s okay. There is no difference and we both know it. I think all we have to do is measure the temperature of the occasion appropriately. That’s it. We would all be happy to be in contact.
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