Chapter is delighted to present a major, three-part project with the influential British artist Garth Evans. Featuring:
GARTH EVANS: BUT, HANDS HAVE EYES
PREVIEW: FRIDAY 13 SEPTEMBER 2019, 6-8PM
EXHIBITION: SATURDAY 14 SEPTEMBER 2019 - SUNDAY 26 JANUARY 2020
‘But, Hands Have Eyes’, is a solo exhibition featuring six decades of sculpture. Alongside works produced in the UK in the 1960s and 70s, Evans will also present a body of work for their UK premiere, that he has produced in the United States since his move there in 1981.
The work of Garth Evans is integral to the history of British sculpture. His practice has largely been defined by the use of geometric, asymmetrical forms and a commitment to simple, everyday materials. Evans is noted for a body of work that offers a bridge between 1960s modernism and the lyrical experimentation with a broader range of materials that followed.
Experimenting with the potential of scale, weight, medium and form, Evans' work comprises both a formal and conceptual approach. He is always interested in interrogating established boundaries and, as a result, his sculptures are made from a diverse range of materials including ceramics, steel, leather and fibreglass. Evans states that many of his works, even when most abstract, are 'triggers for, and containers of, particular identifiable memories'. Ultimately, Garth Evans' works are ambiguous, multi-faceted and completely original.
18 SEPTEMBER 2019 – 18 MARCH 2020
In 1972 Garth Evans created a large-scale sculpture that was placed in The Hayes, Cardiff city centre for six months as part of the Peter Stuyvesant City Sculpture project, which saw 16 new works sited at the heart of eight cities across the UK. The project was a ground-breaking and significant chapter in the history of public art and social engagement.
Garth chose Cardiff as the location for his work as he had very strong family connections with Wales and his Welsh grandfather’s tales of his time as a miner were hugely influential in the sculpture’s form – evoking both a hammer-like tool and the image of a mine tunnel that was as black as coal.
Garth Evans explains: “My mother grew up in the small mining village of Pencoed and my grandfather and my mother’s brothers were coal miners in the region. As a child, I spent summers in South Wales and I vividly remember listening to my uncles and other men talk of their lives underground, in the dark. I wanted to make something that I felt had a connection to the coal mining and steel making industries of South Wales.”
After the project, the sculpture was relocated to Leicestershire where it has remained hidden, neglected and unseen by the public ever since.
Following a successful crowdfunding campaign supported by Art Happens with Art Fund, the generous donations of the public have enabled us to carry out the specialist restoration that is so desperately needed.
In a unique project, Chapter is now able to return the work to its original location, for six months, almost 50 years after it was first seen.
THE CARDIFF TAPES
19, 20 AND 21 SEPTEMBER, 7.30PM (SATURDAY MATINEE, 2PM)
‘There’s not much beauty in it. I can’t see no beauty at all in that.’ 1st Man
The day after the sculpture was first installed in 1972, Evans travelled to Cardiff city centre and anonymously recorded the comments of passers-by. The transcript of these fascinating recordings forms the basis of this original play that will be presented in Chapter’s Seligman Theatre.
Adapted by award-winning writer Leila Philip, ‘The Cardiff Tapes’ is directed by Wayne Vincent and presented in partnership with Everyman Theatre Cardiff.