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Selected Works

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Throuhout the span of his career Evans has been intrigued by the artistic possibilities of uninhabited interior spaces. Influenced by the early Dutch and Scandinavian interiors of Vermeer, De Hooch and Hammershøi, as well as American mid-century realist and magic realist works by Hopper and Wyeth, Evans combines a Hitchcock-like fascination with unusual vantage points and telescoping perspective along with the use of open drawers, windows and doors to create open ended and ambiguous narratives which emerge from his psychologically charged spaces. Utilizing primarily the spare interior rooms of his family's 19th century farmhouse, Evans developed a series of drawings and paintings in the mid-1980s and early 1990s which explored this theme. Telltale clues and objects suggest a human presence nearby, but leave viewers with still unanswered questions, drawing them in to forge their own personal narratives and connections. Evans also explores more formal issues in these works as well, experimenting with identical pairs of fully resolved images presented in both black and white and in color, examining how the use of color affects their impact. In addition, influenced by David Hockney’s cubist photo montage series, Evans utilizes a similar approach in several large scale triptychs and diptychs which fracture the perspective slightly from panel to panel, allowing for a panoramic view of the interior space.


March Dig II,  mixed media on paper, 1985, 21 x 25 inches

Collection of Roundtop Trust



Peppers,  mixed media on paper, 1984, 21 x 25 inches

Collection of Reading Museum, Reading, PA (promised gift)



Acid Test,  mixed media on museum board, 1989, 12.25 x 6.5 inches

Private collection

Acid Test NFT Best2lighter2_edited.jpg



Threshold,  mixed media on paper, 1988, 40 x 60 inches (diptych)

Collection of National Gallery of Art, Washington, D.C. (link)


Copy of 18. Power Lines I 1986 final for



Power Lines I,  graphite on paper, 1986, 21 x 25 inches

Private collection

Copy of 22. Power Lines II 1987 final fo



Power Lines  II,  mixed media on paper, 1987, 21 x 25 inches

Private collection

Copy of Gravity Air big .jpg



Gravity Air,  graphite on museum board, 1992, 40 x 60 inches (diptych)

Collection of Roundtop Trust (promised gift)


17. Transference I 1986 final for screen tiff3.jpg



Transference I,  graphite on paper, 1986, 21 x 25 inches

Private collection

Transference II final.jpg



Transference  II,  mixed media on paper, 1987, 21 x 25 inches

Private collection



Evening Ritual,  oil on panel, 1989, 40 x 90 inches (triptych)

Collection of the artist


Late Dinner3.jpg


Late Dinner,  stone lithograph, 1988, 8 x 12 inches

Collections include: National Gallery of Art, Washington, D.C.; Portland Art Museum, Portland, OR (link) 



Late Dinner II,  mixed media over stone lithograph, 1989, 8 x 12 inches

Collection of Parkersburg Art Center, Parkersburg, WV


Beginning in the mid-1980s and continuing to the present day, Evans has explored the rural landscape near his home and in the surrounding Susquehanna Valley as an artistic vehicle for conveying a sense of urgency and unease over current environmental concerns. The plumes of smoke and steam from nearby Three Mile Island nuclear power plant and other riverside industries, jet trails, power lines, roadways and fences which divide up the surrounding land and skyscape, suggest in Evans' work the imposition of human activity on an increasingly fragile ecosystem, something the artist lives with on a daily basis as urban sprawl continues to creep out into the surrounding rural countryside from nearby cities. The intense solitude and darkness of night in the farmlands and wooded hills is interrupted by the flickering dots of light on the horizon from singular homes or nearby towns as well as the glow of headlights on the roadways, a continual reminder of this encroachment and ever-present impending threat.  These human demarcations which break up the landscape also provide artistic components and compositional devices which give the work linear and geometric structure, framing, connecting, dividing  and providing counterpoint to the more organic artistic forms of the natural landscape.

29. Boundary Lines 1989 final for screen



Boundary Lines,  mixed media on museum board, 1989, 13 x 7.2inches 

Collection of University Gallery, University of Delaware, Newark, DE

30. Jet Trail 1990 final for screen tiff



Jet Trail,  oil on museum board, 1990, 15 x 10 inches

Private collection




Two Maples,  mixed media on paper, 1985, 14 x 15 inches 

Collection of the artist



The Patio,  mixed media on paper, 1984, 17 x 21 inches 

Collection of the artist



The Game, oil on panel, 1991, 24 x 48 inches

Private collection, Wilmington, DE

Widow's Walk II_edited.jpg


Isoceles, oil on panel, 1993, 24 x 24 inches

Private collection, La Jolla, CA



Widow's Walk II,  pastel on museum board, 2009, 12.7 x 13.4 inches

Private collection, Arden, DE



Burning II, pastel on museum board, 2020, 21 x 23.5 inches

Private collection



The Way Out, pastel on museum board, 2017, 12 x 9 inches

Private collection



Sign,  watercolor, 1999, 12 x 16 inches

Private collection


Clearing,  acrylic on panel, 1994, 12 x 12 inches

Private collection, Wilmington, DE



Exit, oil on museum board, 1997, 8 x 8 inches

Private collection

Exit 6x6 (1).jpg
Along I-81.jpg



Along I-81,  mixed media on museum board, 1986, 4 x 8 inches

Collection of the artist

Hight Woods.jpg


Night Woods, acrylic on museum board, 1996, 12 x 12 inches

Private collection



Nocturnepastel on museum board, 2023, 11 x 13 inches




Winter Flocks,  oil on panel, 2001, 24 x 15 inches

Private collection


On the Edge, pastel on museum board, 2022, 12 x 9 inches

On the Edge_edited_edited_edited.jpg

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