Adele Evans (°1983, Paisley, United Kingdom) makes photos, photos and media art. By rejecting an objective truth and global cultural narratives, Evans tries to approach a wide scale of subjects in a multi-layered way, likes to involve the viewer in a way that is sometimes physical and believes in the idea of function following form in a work.
Her photos directly respond to the surrounding environment and uses everyday experiences from the artist as a starting point. Often these are framed instances that would go unnoticed in their original context. By contesting the division between the realm of memory and the realm of experience, she creates with daily, recognizable elements, an unprecedented situation in which the viewer is confronted with the conditioning of his own perception and has to reconsider his biased position.
Her collected, altered and own works are being confronted as aesthetically resilient, thematically interrelated material for memory and projection. The possible seems true and the truth exists, but it has many faces, as Hanna Arendt cites from Franz Kafka. By applying a wide variety of contemporary strategies, she creates intense personal moments masterfully created by means of rules and omissions, acceptance and refusal, luring the viewer round and round in circles.
Her works never shows the complete structure. This results in the fact that the artist can easily imagine an own interpretation without being hindered by the historical reality. By examining the ambiguity and origination via retakes and variations, she tries to increase the dynamic between audience and author by objectifying emotions and investigating the duality that develops through different interpretations.
Her works are made through strict rules which can be perceived as liberating constraints. Romantic values such as ‘inspiration’, ‘genius’ and ‘authenticity’ are thereby neutralised and put into perspective. By using an ever-growing archive of found documents to create autonomous artworks, she plays with the idea of the mortality of an artwork confronted with the power of a transitory appearance, which is, by being restricted in time, much more intense.
Her work urge us to renegotiate photography as being part of a reactive or – at times – autistic medium, commenting on oppressing themes in our contemporary society. With a conceptual approach, she makes work that deals with the documentation of events and the question of how they can be presented. The work tries to express this with the help of physics and technology, but not by telling a story or creating a metaphor.
Her works are an investigation into representations of (seemingly) concrete ages and situations as well as depictions and ideas that can only be realized in photography. With Plato’s allegory of the cave in mind, she absorbs the tradition of remembrance art into daily practice. This personal follow-up and revival of a past tradition is important as an act of meditation.
Her works doesn’t reference recognisable form. The results are deconstructed to the extent that meaning is shifted and possible interpretation becomes multifaceted. By applying abstraction, she reflects on the closely related subjects of archive and memory. This often results in an examination of both the human need for ‘conclusive’ stories and the question whether anecdotes ‘fictionalise’ history.
Her works are an investigation of concepts such as authenticity and objectivity by using an encyclopaedic approach and quasi-scientific precision and by referencing documentaries, ‘fact-fiction’ and popular scientific equivalents. Adele Evans currently lives and works in Glasgow.
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