Artist Profile: Cliff Evans

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Still from Untitled (sketch for a monument to J.G. Ballard #1), 2009

Works like Empyrean and The Road to Mount Weather among others, critically address an overwhelming range of issues including anything from consumerism, economic globalization to American politics and Hollywood. The presentation of these works often echo religious altarpieces particularly reminiscent of the Renaissance era. Why do you choose to allude and conflate content within this metaphorical ʻframeʼ? 

My interests lie in the historical and political reconstruction of recordings and transmissions of mediated subjects, places, and ideas. The jumble of these issues are, for the most part, what I am addressing, not specifically critically, yet the ideas of criticality are also part of the conflation. Since the delivery of such information is the mediation, the mediated becomes the underlying subject. The conflation of these mediated images is something of a subjective regurgitation of the wash of juxtaposed information and images I encounter and distill throughout the process. Predilections and obsessions have a tendency to become more recurrent within this framework. Certain compositions from the Northern Renaissance reverberate with this complexity and resultant flatness of form reminding me of the compositions I construct. There is a kinship. There is also, in these altar pieces, a transcendence of the profane and banal that I find myself striving to accomplish.

Your work is allegorically intricate and labor intensive; always using millions of found images off the internet to arrange and animate. What are the intentions of working specifically in this accumulated way?

The searching, downloading, and databasing of images are modes of research, acquisition, and consumption all at once. It fulfills my need to collect but without the excessive expenditures of other possible activities and makes me feel as if I am actively participating in a complex economy of consumption, production ...

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