Ritter/Zamet is pleased to present the second part of the exhibition NEW SCULPTURE introducing the work of young British artist Jenifer Evans, a graduate from last year’s Masters program at the Royal College of Art.
Jenifer Evans’ sculptural installations juxtapose personally resonant everyday objects, art-making materials and locally accumulated urban detritus to create an intimate physical and psychological self-portrait set within the frame of her daily life and developing career as a young artist. Made on-site in response to a specific context and a strictly controlled time-frame, Evans’ assemblages of objects along with related paintings, drawings, scribbled sketches, photographs and hand-animated projections self-consciously map her entire process of making from concept to fruition as a completed, comprehensive installation.
The artist’s own body repeatedly materializes within the pictorial as well as the physical space via plaster casts of her face, hands and other body parts folded into cast-off clothes, wrapped in constricting bandages of plaster or plastic sheeting, nailed to broken wooden sticks and fused together with piles of hoarded trash. Across this process of sculptural transfiguration, the artist’s body is scrupulously examined, distorted and absorbed – she is both the creator and victim of her own creative process. Such poetic concurrence of the banal with the autobiographical in her subject matter enables what the artist describes as an, “embarrassing honesty, absurdity and pathos” to pervade the work – it is at once awkward and accomplished, accidental yet deeply considered.
For her exhibition at Ritter/Zamet titled Solo Show 1, Jenifer Evans will challenge the traditional view of the artist’s first landmark Solo Show as either a brand new body of work, project or accumulated oeuvre. Instead she will fabricate the entire exhibition on-site at the gallery across the duration of a week using reconfigured fragments of past artworks, trash found in her home and around the gallery as well as sketches laying out her ideas. Across one wall, she will desecrate her own artistic past by mounting some 30 paintings made between the ages of 13 and 18 and systematically destroying and defacing them. As a testament to the putting away of childish things and the dawn of a new personal era as an Artist, Evans’ first solo exhibition will stage a spectacular surge of improvised, gritty energy and a vivid portrait of one artist’s existence as it stands at the beginning of 2008.
Jenifer Evans’ sculptural installations juxtapose personally resonant everyday objects, art-making materials and locally accumulated urban detritus to create an intimate physical and psychological self-portrait set within the frame of her daily life and developing career as a young artist. Made on-site in response to a specific context and a strictly controlled time-frame, Evans’ assemblages of objects along with related paintings, drawings, scribbled sketches, photographs and hand-animated projections self-consciously map her entire process of making from concept to fruition as a completed, comprehensive installation.
The artist’s own body repeatedly materializes within the pictorial as well as the physical space via plaster casts of her face, hands and other body parts folded into cast-off clothes, wrapped in constricting bandages of plaster or plastic sheeting, nailed to broken wooden sticks and fused together with piles of hoarded trash. Across this process of sculptural transfiguration, the artist’s body is scrupulously examined, distorted and absorbed – she is both the creator and victim of her own creative process. Such poetic concurrence of the banal with the autobiographical in her subject matter enables what the artist describes as an, “embarrassing honesty, absurdity and pathos” to pervade the work – it is at once awkward and accomplished, accidental yet deeply considered.
For her exhibition at Ritter/Zamet titled Solo Show 1, Jenifer Evans will challenge the traditional view of the artist’s first landmark Solo Show as either a brand new body of work, project or accumulated oeuvre. Instead she will fabricate the entire exhibition on-site at the gallery across the duration of a week using reconfigured fragments of past artworks, trash found in her home and around the gallery as well as sketches laying out her ideas. Across one wall, she will desecrate her own artistic past by mounting some 30 paintings made between the ages of 13 and 18 and systematically destroying and defacing them. As a testament to the putting away of childish things and the dawn of a new personal era as an Artist, Evans’ first solo exhibition will stage a spectacular surge of improvised, gritty energy and a vivid portrait of one artist’s existence as it stands at the beginning of 2008.