The work of both Michael Evans and Jo Love appears to be equally unwilling to entirely relinquish the affective presence of the hand. Rather, both Evans' paintings and Love's photographs operate within an equivocal space (a space both literally and figuratively âgrey') that is situated between what are ostensibly two separate registers, namely the visual and the tactile or haptic. The process wherein matter opens itself to sense occurs within as much as upon the actual and illusory surfaces of the work.
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