Provenance: The Artist's Studio
In a letter to The Redfern Gallery dated 1 January 1981 he said that in choosing the titles he aimed for something that would be ‘beguiling’.His titles are typically characterised by innuendo and humour : Horrendous Rex; Bird Watching; Murphy Rules; The Land of Nod; Many titles remain enigmatic: 89th Parallel; Fete of Klee; The L9; Voices of 1431; 207 Miles Per Hour (1979); City Seconds (1979)....
His subjects range from the sacred to the profane and the mundane to the exotic; though frequently with the edges blurred: Noli Me Tangere; The Wages of Sin and Co (1979); Scenes from Provincial Life (1979); South Sea Bubble(1978); The Angel of Mons (1978). The Old Testament and Pagan world provided a ready stream of themes in which Evans’ imagination could flow freely, responding with science-fiction style reinterpretations of age old subjects: Tower of Babel (1981-82); David and Goliath; Dies Irae (1978), Venus Observed (1979); Sirens; The Witch of Endor; Opus Surgieum; Saxons (1978); Landscape with Angels.
In his imagination Evans also travelled further afield: Rhine Journey; Tipperary; Scapa Flow (1977); and further still: Asia Major, Indian Landscape; Slavonic Dances; Arabian Days (1980).
Music was a lifelong passion for Evans, both classical and pop, which he explored through the record shop he ran in London and attending concerts, especially to see Pete Gage perform. Titles including, Al Ziggy and Trev (1980), Buskers (1979); To the strains of piped Grieg; Choral Symphony (1981-2); Music Underground (1981-2); “Devil’s Trill” Sonata; Grosse Nachtmusik. Evans frequently alluded to the similarities between art and music and each of his works was given an Opus number.