Fairies and Cowboys
March 21 - April 18, 1998
Just arrived from England where his work was the subject of a retrospective exhibition at the National Museum of Photography, Film & Television; Evergon takes a break at Galerie Trois Points where his most recent work will be presented.
From Evergon, we will first remember the large format color Polaroid cameras that led to the black and white images of the Ramboys series. Images with great power of seduction in which sensuality, both iconographically and in the formal form of these two previous series, feeds a mythology with historicist flavors; the works from these periods were not without flirting with the semantically ambiguous aesthetic of a Carravage. The recent works still relate to mythology (allegorically including -Fairies and Cowboys is the title of the exhibition he presents), and feed what Evergon’s work may have possessed of Romanticism and an “evanescent” seduction. We will find this spirit more prominently in the holograms that will compose, on the one hand, the whole. Other images, however, will seem to abandon, to a lesser extent, this spirit in favor of an exacerbation of “raw things”: dark places where prostitutes and lovers of lubricities meet, cowboys who do not have the heroism of characters that hat are hints that exalt the work of the photographer.
We must not fear the verb, let us say it, since exaltation is indeed the lot of these works if one thinks of the motives that Evergon summons which, under the eye of some, would have been the subject of a critical and social commentary that does not seem to appropriate this series. In this sense, the current work of the artist acts upstream of “the ambient air” which seems to prefer the approach as well as the more critical intervention.
Fairies and Cowboys, by Evergon. or: for the exaltation of a heroic mythology.