And it is that technique and the medium he applies it to in service of his creative vision, which render classification redundant. Because, you see, he works entirely with strong, beautiful, expressive leather, working the surface of the material with an array of scalpels, knives and other tools to create his pieces. He is also extraordinarily successful with a body of shows, a global collector base and media interest built up over his 20-year career.
When you stand before a Mark Evans piece there is a tension at play – the viewer is compelled both to move back to take in the full spectacle and to get up close to explore the miniature world of carving, chiseling and shaving, mesmerised by the incredible lightness of touch that creates
such impact.
Creatively, he finds himself drawn to the muscular, the heroic and the fierce. His polo players, his boxers and his wildlife are visceral, magnetic pieces that leave an imprint long after the gaze moves on. It is not surprising that he cites Delacroix as a non-conformist worthy of our respect. But he also refuses to be pigeon-holed, moving on when he risks becoming overly known for any one genre, going off grid, moving into the shadows where the world isn’t watching, to consider, where next.
