source: artishockcl

Franklin Evans analiza los procesos de hacer arte, desde la generación de ideas y materiales hasta su transformación de lo uno a lo otro, pasando por los variados estados entremedio. Últimamente, su práctica se ha centrado en instalaciones multidisciplinarias o “ambientes” compuestos por pinturas, esculturas, fotografías y sonido, como es el caso de su reciente muestra eyesontheedge, en la Sue Scott Gallery de Nueva York. En esta exhibición, sus emblemáticas pinturas murales y ambientes generados a partir de aglomeraciones de collages -como la instalación timecompressionmachine, exhibida en Greater New York 2010, MoMA PS1- han sido transferidos por el artista a la superficie de telas de gran escala.

El “artist’s tape” (masking), que anteriormente desempeñó un papel clave en la obra de Evans como una barrera, marco y herramienta de dibujo, ahora es cuidadosamente recreado en sus trabajos mediante la técnica del trompe l’oeil. La historia personal del artista y su visión del mundo del arte como circuito de relaciones interpersonales se van asomando en los componentes de estas coloridas estructuras multidimensionales, que funcionan como “atlases de composiciones en el espacio”: colecciones y acumulaciones de fotografías familiares, postales, libros, comunicados de prensa de galerías y otro tipo de material impreso alusivo.
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source: momaorg

Franklin Evans discusses his installation timecompressionmachine (2010), in which he covered the floor and walls of the gallery with unstretched canvas, screens made of painted strips of tape, and old newsprint and press releases from gallery exhibitions. Composed of numerous overlapping parts, the installation gives the sense of a work in progress. Additionally, the ephemeral nature of the installation, which exists solely for the duration of Greater New York 2010, is highlighted by Evans’s use of materials that are typically considered disposable. As the artist puts it, his environments suggest “the not-quite-finished, the in-transition, the nearly-emerging, the slowly-evolving, the near-end, and the move-towards-erasure.”

Franklin Evans. timecompressionmachine. 2010. Mixed mediums, dimensions variable. Courtesy the Sue Scott Gallery and Federico Luger Gallery. Photo: Matthew Septimus. Courtesy MoMA PS1
Interested in what he describes as the equalizing of product and process, Evans’s considers his installations as attempts to probe the nature of the artist’s studio. Utilizing a range of materials, including common art supplies such as paint, canvas, tape, paper, and Bubble Wrap, as well as art books and press releases from galleries he has visited, Evans creates environments that provide insight into his working process and treat the studio as the site of exploration and possibility.

Franklin Evans. timecompressionmachine. Mixed mediums, dimensions variable. Courtesy the Sue Scott Gallery and Federico Luger Gallery. Photo: Matthew Septimus. Courtesy MoMA PS1
Franklin Evans. timecompressionmachine. 2010. Mixed mediums, dimensions variable. Courtesy the Sue Scott Gallery and Federico Luger Gallery.

Interested in what he describes as the equalizing of product and process, Evans’s considers his installations as attempts to probe the nature of the artist’s studio. Utilizing a range of materials, including common art supplies such as paint, canvas, tape, paper, and Bubble Wrap, as well as art books and press releases from galleries he has visited, Evans creates environments that provide insight into his working process and treat the studio as the site of exploration and possibility.