5-29 November 2009
In a mediated world, what level of veracity can we expect from our mediators? Taking an image which is mediated by taking a digital photograph, draining it of colour, filming it with the inbuilt flaws of white capture and reframing it as a film created by the changes in the environment around the object, what is left of the experience? Questioning the point at which an experience multi-mediated by process, becomes something other than a representation. The work repositions the function of the set in performance, the landscape in image making and the film in narrative production. Leaving the viewer with little more than themselves facing the image.
Jeremy Evans' practice uses film/video works as a form of translation. Ricoeur talks about the third text that translators look for; it sits between the original and the translation and carries the truth of both texts. He argues that such a text does not exist and the translator must let go of it to be able to decide between translating in a way that is faithful in lexical terms, or in terms of the spirit of the text. In his practice, Evans attempts to find the point at which temporal representation can hold the truths of the objects represented and the representation of the objects. It is in the process of attempting something which he already knows to be unattainable that pushes him to go further in finding out about the processes and structures that lead us to believe that an experience, and its filmed experience, can be substituted. The camera is the intermediary of experience as our internal narratives are, and as such is as open or closed to the way we manage our existence. So, he focuses on making things that could be seen as pointless and in so doing enters into discussion with the function of art.
Evans graduated in 2007 with a BA (Hons) First Class Fine Art from Chelsea College of Art. He is based in London and his work was selected for New Contemporaries 2008/9.