British-born Toronto-based painter Charlotte Evans is just ending a prestigious solo exhibition in England called Kiss the Joy that Flies, about a decade after she was first tipped by Saatchi as an emerging artist to watch. Fully emerged and in demand, Evans is showing a roster of new works at Candida Stevens Gallery in Chichester.
Notes for the exhibition identify references to the Italian Renaissance in Cradle (above): “In Evans’s use of ultramarine (a pigment that was reserved for the Virgin Mary’s robes) and inclusion of strawberries (a symbol of fertility) on the figure’s jacket, we see the lasting imprint of the art of this period on the artist’s practice.”
In Bird Boy (above), a solitary figure wrapped in a colourful, feathered cape stands at the edge of the water beneath the cool glow of a rising sun. Arms spread in preparation for flight, he looks towards the audience in a way that seems both defiant and afraid.
Go to the gallery exhibition page for a full look at the work and background of Charlotte Evans, here.
Charlotte Evans website, here.
See a previous Art Junkie post on Charlotte Evans here.
Image at top of post – Hope is the Thing With Feathers, 2023, Oil on canvas, 152 x 177 x 3.5 cm, Diptych. All images Copyright the artist. Note: The title is an Emily Dickinson poem, from A Child’s Garden of Poetry, here.
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Very beautiful work. I want to thank you for your Canadian Art Junkie postings. They are always very interesting and I get to see works by artists that I would otherwise not know about. I also want to thank you for posting works and an article that you posted a few years ago on my own work in a show called ‘Afterlight’.
Hi Marsha – Thank you so much for that lovely comment. I’m glad you’re enjoying the blog. I remember Afterlight very well, and it was extremely popular. So for those reading this exchange wondering what Marsha and I are talking about . . . here’s the link to the piece. https://canadianartjunkie.com/2019/08/14/marsha-kennedy-sweet-nature/