Literature: “David Evans (1929-1988)”, edited by Sacha Llewellyn & Paul Liss, published by Liss Llewellyn Fine Art, 2017. ISBN 978-0-9930884-6-9
Evans studied at Central School of Arts & Crafts under Keith Vaughan. His early work, including studies in pen and ink and work in photo montage, has only recently come to light. In his draughtsmanship there are clear generational influences, from Keith Vaughan (1912-1977), to Peter Blake (b.1932), David Hockney (b.1937), Alan Reynolds (1926-2014), Lucian Freud (1922-2011), and Eduardo Paolozzi (1924-2005).
Evans’ strikingly large watercolours (they typically measure over one metre in height or breadth), span two decades, (from the late 1960s to the late 1980s). While powerfully evoking the period charm of the glam-rock era, Evans showed a conscious awareness of the shifting political landscape around him. His compositions are characterised by a kaleidoscopic vision of Thatcher’s Britain: an era of urban redevelopment, the Falklands War, industrial unrest, nuclear power, and the Cold War. Transition is everywhere: new roads carve their way through the countryside; fighter jets cast their shadows across the landscape; the scars left by industrial plants, pylons and landfill permeate throughout.