Evan Robarts’ studio practice can be seen as a subjective exploration into cultural dif- ference in urban neighbourhoods. As a Brooklyn based artist, Robarts is keenly aware that his career and lifestyle personify aspects of urban regeneration and demographic relocation. Originally from South Beach, he is attuned to how the familiar landscape of Miami is incessantly revised, as many long-standing residents are forced out by rocket- ing property values. Both locations are rife with conflicting interests and the relentless drive of accelerated gentrification.
Engaged with themes of labour, industry, and social segregation, Robarts’ work is in- formed by previous life experiences and jobs: construction, dishwashing, janitorial work. Commenting on this, he says, ”I found the labour to be repetitive, menial and depressing - I was more inspired by the people I met. The most impactful experience was two years as a superintendent to an apartment building in Brooklyn. This left a strong impact on me, as I was exposed to an intimate perspective on the hardships of my tenants, and it was uncomfortable”.
At Untitled, 10 Hanover are exhibiting new works from his distinctive “mop” series. These works formally incorporate the patterns of soapy suds on a floor or windows, and are made from FGR plate on vinyl tiles. Elsewhere, a water hose penetrates a one- way mirror, referencing communication and psychological barriers: the 3D hose can cross boundaries under the precept of labour, yet in doing so imposes and flaunts mo- bility. These works are absorbed with the invisible constructs that separate both fine art and social groups from their surroundings. Similarly, Robarts is aware he may work alongside blue-collar neighbours or fix manual tasks in their homes, but is excluded from the community by comparative freedom in the wider world. The understanding of this paradox and choosing to challenge its ubiquity is his continued motivation.