Reviewed by Andy Brumer for Visual Art Source:
Ned Evans’ colorful and masterly executed acrylic and mixed-media geometric abstractions treat us to a painterly turbo-charge bouquet of color, texture, composition and feeling.
The artist uses multiple wood panels in these paintings, to which he affixes pre-cut geometrically shaped pieces of cloth, paper, plastics and other fabrics. All are seamlessly assembled. Evans textures many of these strips, squares and other rectangular materials with granulated sand-like additives (similarly to Tapies, Dubuffet, Braque and others). If many viewers will miss seeing the underlying cohesive element at work here in the midst of the constructivist Boogie Woogie movement and kaleidoscopic blur, they will certainly, if only subconsciously, feel it.
There’s also a studied color field tone poem feeling to Evans’ compositions that is counterbalanced by a jazz musician’s improvisational, supple and swift decision-making process. When integrated by the artist’s experienced eye and hand the combined gestalt of these elements, which meet the eye so simply yet represent a high order of visual organization, the paintings possess Schiller’s schein.
The gallery director’s office walls support a small group of Evans’s Cubistic sculptural reliefs titled “Keyholes.” Each consists of four blocks of thick foam painted with resin and encaustic oils. These frame more than encircle small, centrally positioned empty spaces, the “Keyholes,” and while feeling childlike and tender the pieces trigger the double entendre of piano keys. One can almost hear Thelonious Monk-like clunky iconic and ingenious solos emanating from them. Such serenading adds a welcome background accompaniment to the primary bodies of work in the main galleries.