• Curriculum Vitae

    Jill Evans

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    Fine Art

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    Art and Design

    Studio 5
    Oaks Park
    E-mail:jill@jillevans.co.uk Qualifications Art Currently studying MA Drawing at Wimbledon College of Art 2011-2013
    BA (Hons) 2.1 Fine Art, Painting 1990-93
    Chelsea College of Art and Design
    Fine Art Foundation (Distinction) 1989-90
    Reigate School of Art and Design
    Design Diploma in Professional Studies 1967-70
    Fashion, Wolverhampton Polytechnic
    Teaching PGCE in Secondary Education, Art and Design 1995-96
    Institute of Education, University of London
    Employment Teaching ‘A’ Level and GCSE Art/Textiles: 1994-2007

    Occasional visiting tutor on Foundation and BTEC

    Drawing Workshops - Drawing skills and discovering charcoal
    - Textures and markmaking
    - Life drawing
    Freelance Illustrator 1973-88
    Specialising in figures for magazine editorial,
    advertising and publishing
    Fashion Designer/Pattern cutter 1970-73

    Exhibitions

    Wimbledon College of Art - Foyer Gallery 2012, Oaks Park Open Studios – 2003 to 2012

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

  • Statement

    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.

    Please contact me with any queries or comments and for sales information.

  • Contact

    To get in touch simply email jill@jillevans.co.uk or use the form below. Thank you.

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  • © tinyDESIGN
  • Yellow over Blue - Jill Evans Jill Evans Red Lines on Blue - Oil on Board - 86 x 101 cm Red Zig-Zag - Oil on Board - 61 x 71 cm 005 - Media: Charcoal and acrylic on paper - 29 x 29 cm Green Lines 007 Little Zig-Zag Blue Divide Blue Swap Low Rythm Sun Arch Move Over Brush round 1 - paint on paper - 2011 Brush round 2 - paint on paper - 2011 Brush round 3 - paint on paper - 2011 Charcoal rings 1 - charcoal on paper - 2011 Large spiral - charcoal on paper - 2010 Ochre and white - acrylic on canvas - 2010 Vinculum - oil on board - 1993 Little Ways iii Little Ways xv Little Ways xii Charcoal Direction 2 Charcoal Direction 5 Inbetween iii Inbetween iv Inbetween v Inbetween vii Inbetween ix Early Drawings - Serpent Oboe Early Drawings - Crow Early Drawings - Bones Early Drawings - Water Grid Heuristic Early Drawings - Splash v