I firstly noted the strange and somewhat unrelated subject matter in Evan Summers work and was interested and drawn in further by that diversity. Unfortunately I could not attend Summers’ presentation because of previous workerly-obligations (involving water, soap and dishes), so I was left to draw some of my own conclusions about the art and the artist…of course I had the catalog at my disposal but I found myself straining to read through the philosophical “jibbah-jabbah” so I switched gears and scanned through the catalog, learned the facts and let the art do the rest of the talking.
Summers’ nocturnal landsapes had a very emotionally empty and grey feeling to them, I found myself looking at what appeared to be a world void of sound and mentionable life. It wasn’t necessarily sad or scary but more of a waiting feeling. I have never seen any work that made me feel like that upon inspection and I would guess if I had seen a single piece like that in the midst of many different genres and works I would naturally move away from it and find my comfort zone elsewhere. –I feel very happy that I took the time to get up close to these works and forced myself to analyze them and read about them and have feelings for them. I enjoyed the bug-studies not for composition or feelings sake but more so because I like bugs and I liked the means in which he built his bugs (particularly the big fly) using diagonal hatching in addition to perceptual hairy-bits to create a very effective and in my opinion humorous insect.
Compositionally speaking, summers used triangular compositions in about half of his landscapes which I felt was more effective than their opposing half which was generally a more centered linear-perspective kind of creation. Overall I enjoyed the Summers’ experience and the uncomfortable direction that he fabricated.
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