Curriculum Vitae

Jill Evans


Fine Art


Art and Design

Studio 5
Oaks Park

Born in Wolverhampton, lived and worked in London and Surrey.

Drawing has always been important to me throughout my life and career. I am now making work about the experience of walking and drawing. I have always connected to the landscape through drawing and it is this connection that motivated my early abstract paintings on the BA course at Chelsea. I am interested in the direct and physical response we encounter with our surroundings, which is a selective process for the viewer that depends on their own experiences, desires and purpose. Memories are embedded in a viewer’s perception and these embedded remnants reconnect and allow an individual interpretation of the work.

Education MA Drawing and Critical Practice - Wimbledon College of Art: 2013
PGCE in Secondary Education, Art and Design - Institute of Education, University of London: 1996
Fine Art BA (Hons) 2.1, Painting - Chelsea College of Art and Design: 1993
Fine Art Foundation (Distinction) - Reigate School of Art and Design: 1990
Design Diploma in Professional Studies/Fashion - Wolverhampton Polytechnic: 1970


Teaching / HOD - ‘A’ Level and GCSE Art/Textiles: 1994-2007
Occasional visiting tutor on Foundation and BTEC
Drawing workshops - skills, life drawing
Freelance Illustrator, specialising in figures for magazine editorial, advertising and publishing: 1973-88
Fashion Designer/Pattern cutter: 1970-73


David Gluck Memorial Drawing Bursary, Mall Gallery, November 2013
South East Cancer help Charity, Purley, October 2013
MA Degree Show, Wimbleledon College 2013
Transition Dorking Drawing Residency, May 2013
MA Drawing Show at The National Gallery, March 2013
Wimbledon College of Art - Foyer Gallery 2012
Oaks Park Open Studios – 2003 to 2013
Tres Ole – Ole Gallery Putney, 2008
Honeywood Museum - May 2008
Chichester Open - Nov 2005
WAS Open Studios – 2000-02
The Byker Art Show, Newcastle-upon-Tyne – 1993 shown on BBC2 - 2 July 1993
Atrium Gallery, Whiteleys, London "Brush with a Future" – 1993
Cranfield Conference Centre, Milton Keynes – 1991


Chelsea College of Art – The Deans Collection
Cranfield Conference Centre
Private collectors


Walking, listening, collecting a variety of sounds as I travel across the landscape, looking, noticing and drawing. I am investigating how we process the everyday experience of observation and the visual qualities of our surroundings. What elements might remain in our memory, connecting and evoking recognition?

Art is about recognition, the identification through a continuous act of comparison in what we see, hear, touch and notice. I walk, I look and occasionally find something unnoticed.

I examine how drawing might enquire and communicate the little differences I find that could reveal a link to specific place. I respond, connect and explore the impact of walking, drawing and memory.

I use materials that reflect and inform the site of the work – here, now its presence reflects back into history, culture and place.

A painting can start from anywhere, an insignificant detail, the density of yellow road paint, a pathway worn through generations of use, a vast space and sounds that fill it, a worn stone where two rivers meet, the weave of a shirt fabric.

These observations are stored and used later without their reference to nature.

Painting about simple things, using simple materials, my paintings initially appear deceptively open and simplistic.

As an abstract artist the physicality of the painting and formalist concerns of line, tone, form and structure are the main considerations. A painting evolves from the first decision, often directed by colour, dilute or dense that may be contained within the edges, stop short or spill over. Tensions are built across the surface of the painting, determined through temporal recollections.

The physicality and rhythms disturb and appear to unbalance the viewer. The colour and its quality has a purpose, it is both itself and it creates directions, reinforces, alters, disrupts, re-arranges. Horizontals and verticals become visible. Visual differences build relationships within the layers exposing or concealing as the painting simply reveals itself.

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