To look back over Garth Evans’s 50 years of art production—sculpture plus drawings and watercolors—is to pursue a will o’ the wisp always vanishing out of the corner of one’s eye. Evans has repeatedly been exclaimed and admired, but the attention has never led to real fame—which seems to be something that he regularly courts and then dodges. When an early body of work began selling, he quit making it. When he was well-established in his native England he relocated to America. His evasive tactics are also evidenced by the character of his work, which changes materials and ranges from monumental to diminutive. Playful invention, an inclination to start with some recognizable order and then twist or dismember it, and a surprising devotion to surface details, including color, give coherence to his oeuvre—but no consistent look…see the entire article in the print version of October’s Sculpture magazine.
