Getting beneath the skin of one of Britain’s most innovative artists.
Garth Evans is a sculptor as capable of evoking intimacy and simplicity as he is of dealing with the monumental and the timeless.
Out now, Garth Evans Sculpture is a complete and long overdue survey of his unique career, revealing a wealth of powerful and innovative work, much of it previously unseen in print.
As narratives of British sculpture are reconsidered, Evans is emerging as one of the most creative and influential artists to bridge the generation of Anthony Caro and Philip King with that of Tony Cragg and Anthony Gormley, so it is cause to celebrate that the first major exhibition of Evans’ work in 20 years has just opened at Yorkshire’s Longside Gallery.
For those unfamiliar with Evans’ work, acquaint yourself with the gallery below. For those familiar, reacquaint yourself.
Click a thumbnail to begin.
Garth Evans Sculpture: Beneath the Skin is edited by Ann Compton. Originator and Director of the digital research project Mapping the Practice and Profession of Sculpture in Britain and Ireland 1851–1951 (sculpture.gla.ac.uk). She has written widely on British painting and sculpture, particularly of the twentieth century.
Garth Evans, Untitled No. 1, 1974. Photograph by Anna Arca, courtesy of Arts Council Collection
Garth Evans, Bodies, installed at Lori Bookstein Gallery, New York, 2006. Photograph by Jerry L. Thompson
Garth Evans, Babar, 1965, fibreglass, pigment, 81.3 x 584.2 x 43.2 cm. Photograph by Paul Minyo, courtesy of Poussin Gallery, London
Babar, on cover of new British sculpture/Bristol, 1968, courtesy of Derek Balmer and Arnolfini, Bristol
Garth Evans, St Mary’s No.1, 1978, welded polythene sheet, 8.5 x 307.3 x 314 cm, Arts Council Collection, installed at Longside gallery, Yorkshire Sculpture Park. Photograph by Anna Arca, courtesy of Arts Council Collection
Garth Evans, Frames (Echoes) Nos. 24-21, 1971-74, laminated, painted plywood, dimensions variable, each frame 60.9 x 60.9 cm, installed at Choate Rosemary Hall School in 1993
Installation at Inno 70, Hayward Gallery, London 1971, in collaboration with the British Steel Corporation. Photograph Tate, London 2012
Garth Evans, Untitled (Cardiff), 1971, steel, paint, 243 x 243 x 1219 cm, Leicestershire Education Authority
Garth Evans, Frill, 1970, steel, paint, 134.6 x 76.2 x 132 cm, Belfast City Art Gallery
Garth Evans, Untitled No. 1, 1974, plywood, 20.3 x 243.8 x 243.8 cm, Arts Council Collection. Photograph by Anna Arca, courtesy Arts Council Collection
Garth Evans, Canal No. 44, 1983, plywood, 49.5 x 43.3 x 25.4 cm, private collection
Garth Evans, Horse’s Mouth, 1987, epoxy resin, fibreglass, paint over foam core, 33 x 71.1 x 58.7 cm
Garth Evans, Double Message, 1990, epoxy resin, fibreglass, paint over cardboard, 76.2 x 48.3 x 50.8 cm
Garth Evans, Mirror, Mirror, 1990-91, epoxy resin, fibreglass, paint over foam core and paper, 71.1 x 45.5 x 33 cm
Garth Evans, Milk, 1993-95, fibreglass over cardboard, 78.1 x 221 x 104.1 cm
Garth Evans, Unnamed, 2003, glazed ceramic, 30.4 x 17.7 x 20.9 cm
Garth Evans, Duck, 2004-6, painted fired clay, 41.5 x 54.5 x 37 cm
Garth Evans, Little Dancer No.99, 2003-8, glazed ceramic, 12.7 x 19.1 x 15.9
Garth Evans, Watercolour No. 73, 1991, watercolour on paper, 29.2 x 25.4 cm
Connecticut Studio Interior, 2012
Garth Evans with Frames (Echoes), 1971-1974, installed at the Rowan Gallery in 1974.