CLODS, Diplomatic Letters
For his third solo exhibition, Chris Evans (1967, UK) presents two new series under the title CLODS, Diplomatic Letters. Hollowly echoing urban planning, the CLOD mimics the concrete lump left by the removal of a post or pipe. Each piece has at least one hole and bears the traces of its facture process. The Diplomatic Letters are black and white photographs showing small drawings on paper of common invasive plants such as the globally rampant and toxic Camera Lantana. The drawings were commissioned from diplomats and photographed by the artist.
The two series embody a common thread of deliberation and its inversion, a handle of negative space. Diplomatic Letters reverses the drawing into white on black, an invention of the soothing grasp of invasive agents by skilled managers of foreign affairs. CLODS, with their evocation of abrupt displacement, belie this haste with their worked-over surface, returning us to an idea of 'policy' traversing the making process and the planning process.
Soliciting the dream life of honchos and henchmen is the crux of Evans' artwork. Oblique artefacts emerge from unwieldily social situations that confuse the role of artist and patron, genius and muse.
Chris Evans lives and works in London, UK. Upcoming exhibitions include ‘Surplus Authors’, curated by Defne Ayas and Philippe Pirotte, Witte de With Center for Contemporary Art, Rotterdam (2012); Taipei Biennial Two Year Project, Taipei (2012) and ‘Specific Collisions II’ , Marianne Boesky Uptown Gallery, New York (2013). Recent solo exhibitions are: ‘Goofy Audit’, Luttgenmeijer Berlin (2011), ‘The Cell That Doesn’t Believe in the Mind it is Part of’, curated by Lisette Smits, Marres Centre for Contemporary Culture, Maastricht (2010) and 'I Don't Know If I've Explained Myself' curated by Tirdad Zolghadr, Mala Galerija, Ljubljana (2010).