Born 1965 Leeds West. Shortly after moved to Harrogate. Studied BTEC National in art & design at Harrogate College 1990 – 1992 Bretton Hall Leeds 1992 – 1996 BA (Hons) in fine art sculpture. 'O' Leve in Life drawing Level 3 Certificate in Delivering Learning: An Introduction (7302-02) Short listed for Royal Academy of Arts summer show 2013. 2011 - 2014 The Ingram Collection The Lightbox
I perceive the art of sculpture and painting recognition of unities and similarities: Rhythms and analogues, differences The character of space The definition of space The penetration of things into space The nature of illumination It's determination of what we see (as opposed to what we know by vision from a static point in (space) The way our reading of experience is controlled by the means by which we perceive.The thing any scientist discovers is beyond the reach of direct observation. We can not see energy, attraction of gravity, flying molecules of gases, luminiference ether, nor the explosions in nerve cells. It is only the premises of science, not its conclusions which are directly observed. For me, a work must first have a vitality of its own. I do not mean a reflection of the vitality of life, of movement, physical action, risking, dancing figures and so on but that a work can have in it a pent up energy, an intense life of its own, independent of the object it may represent. When a work has this powerful vitality we do not connect the word beauty with it. Beauty in the later Between beauty of expression and power of expression there is the difference of function. The first aims at pleasing the senses, the second has spiritual vitality, which for me is more moving and goes deeper than the senses. Because a work does not aim at reproducing natural appearances it is not, therefore, an escape from life, but may be a penetration into reality... an expression of the significance of life, a stimulation to greater effort in living. greek or Renaissance sense is not the aim of my sculpture/paintings.
Darrell Evanes Dip, BA (Hons)