After returning from years of war coverage, Peter van Agtmael tries to piece together the memory, identity, race, class, and family, in a landscape which has become as surreal as the war he left behind.
Cerith Wyn Evans is a contemporary Welsh artist known for both his experimental films and complex sculptural installations that incorporate chandeliers and neon lights. Referencing semiotic texts, avant-garde films, and theories on perception, the artist creates works that produce metaphors for the viewer to interpret. “It’s really about fluidity, about drifting through the space, about sounds drifting, images drifting,” he has explained of his work. “You’re moving from one place to another and that movement can happen physically but also emotionally.”
Born in 1958 in Llanelli, United Kingdom, he went on to study at the Saint Martin’s School of Art and later under the artist John Stezaker at the Royal College of Art in London. Mostly working in film during the 1980s, Evans began producing sculpture and installation during the early 1990s. Since then, he has gone on to be the subject of exhibitions at White Cube gallery in London, the Museum of Fine Arts in Boston, Tate Gallery in London, Haus Konstruktiv, Zurich, Museion Bolzano, Italy, and TBA-21 Augarten, Vienna, as well as in the Skulptur Projekte Münster, Germany, the 57th Venice Biennale, among other spaces.
The artist currently lives and works in London. Today, Evans’s works are held in the collections of The Museum of Modern Art in New York, the National Galleries of Scotland in Edinburgh, and the Center for Contemporary Art in Kitakyushu, Japan, among others.
[Museo Tamayo + Artnet]