Glasgow based sculptor Nick Evans makes solid, organic and amorphous works that constantly question the relationship between form and meaning and, embody an awareness of the properties and purposes of the language of sculpture. Evans’ work alternates between the use of traditional and newer materials; such as plaster, bronze, wood, terracotta and ceramic as well as polyester resin, fibreglass and silicon rubber. Through evocations of cultural and geographical histories, Evans’ practice reveals philosophical, existential, art related maters/questions. Exploring relationships between forms and material, sculpture and plinth, mass and gravity, Evans indicates more contrasted ones such as between abstract and figurative, tradition and modernism questioned by many sculptors in the past.
His solo exhibition at Tramway ‘Solar Eyes’ features a new body of plaster sculptures orchestrated in such a way that they respond to a unusual environment, part sculpture ‘theme park’ and part lost civilization. With strong references to prehistoric context and symbols, ruined and deserted landscapes, Evans’ new works have quasi-functional aspects, or relate to their surroundings. These surroundings include an ambitious architectural complex, reminiscent of a Mayan temple, which responds to the hierarchical nature and sacred geometries of such sites, and a number of printed and painted backdrops that incorporate aspects of prehistoric symbolism.
Once again, the materials in Evan’s work are strongly influenced by history and symbolism; hence the plaster relates to the chalk traditionally used to represent a pure white goddess and express a symbolic of life and death. However the mode in which the sculptures are displayed often undermines and sometimes lampoons these symbolic determinations, the objects themselves becoming quizzical, self reflexive and critical of their own existence.