Painting as Model
, Yve-Alain Bois’ 1993 book of
critical essays, reinforced the theoretical complexity of painting by modern
summer, the text takes on new meaning at Ameringer McEnery Yohe
, where it
has inspired “paintingassupermodel
’ first solo
exhibition at the gallery.
Evans’ post-postmodern work expands on Bois’ writing in the
language of networked painting and contemporary excess. It is a type of
studious, if materially untidy, over-formalism that is partly contemptuous and
partly reverential of American painting’s academicism and consumer culture’s
mediated idealism (as signified by the “supermodel”).
This new installation, realized through Evans’ tape-painting
technique, comprises collaged wall paintings, eight large canvases, 1,500
square feet of digital prints on paper, canvas, and silk, photographic sculptures,
floor works, and vitrines that together alter the architecture of the gallery’s
modernist white cube. Hung from the ceiling and expanding below the viewer’s
feet, “paintingassupermodel” invites the viewer to reorient spatially and
conceptually within Evans’ cosmically colorful patterns, and offset geometrical
grids that trail off into a muddying, almost endless maze of marks.
Evans has described his emergent, process-based method as a
“near-infinite cycle of recombination” that produces “open system environments
that are both symbiotic and cannibalistic.” Combining firm art historical
foundations with a discontinuous focus wrought by internet media and digital
technologies, Evans has developed a dynamic dialogue on art’s past and future.