2019

Christopher Evans (b. Schenectady, New York, United States) makes paintings, photos, drawings, and sculptures. By demonstrating the omnipresent lingering of a ‘Christian Fundamentalist Corporate World’, his paintings reference post-consumerist anxiety as well as the post-modern and the left-wing socialist movement as a form of resistance against the logic of the capitalist market system.

 His paintings demonstrate how life extends beyond its own subjective limits and often tells a story about the effects of global environmental interaction over the latter half of the twentieth century. It challenges the binaries we continually reconstruct between “Self” and “Other”, between our own ‘mentally auto-cannibalistic’ and ‘civilized’ selves. By parodying the traditional male gaze portrait and exaggerating certain formal aspects inherent to our masculine society, he makes works that can be seen as self-portraits. Sometimes they appear idiosyncratic and quirky, at other times, they seem like vacant, ghastly critiques of capitalist America's so-called "Faith-based uber-abundance, health care for profit, and isolationist and divisive targeted marketing." He investigates the anxiety of his technocratic generation through repetition and self-reflection where the idea of "self" exists as a contradiction while using media to foster anonymity while destroying privacy.  

 
His works are saturated with obviousness, mental inertia, clichés, and bad jokes. They question the coerciveness that is derived from the more profound meaning and the superficial aesthetic appearance of a digital image. With the use of appropriated materials and imagery which are borrowed from a day-to-day context, he presents ordinary objects as well as references to texts, painting, and mythology. By applying specific combinations and certain manipulations, different functions and/or contexts are created. Christopher Evans currently lives and works in St Petersburg, Florida.

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