FFWD Weekly
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| VISUAL ARTS Exhibit Preview I admit my punning got out of hand when I dissed Elena Evanoff's contributions to an Art Is Vital group show last June. Nevertheless, I stand by my contention that some of those works looked more like preparatory oil sketches than finished paintings. Her current show, however, gives a much better indication of where she's at as an artist. Evanoff is not your stereotypical artsy-type. She's a successful businesswoman and has competed nationally as a long distance runner. In fact, it was after suffering a sports injury that she began to spend more time painting. Evanoff studied art at the U of C where she was influenced by photorealist painter John Hall and figure drawing instructor Marcia Perkins. After graduating in 1992, Evanoff found herself in the usual now-that-I've-finished-art-school-what-do-I-do-for-a-living? predicament. So, she and a fellow student - starting out by flogging their wares from a cart in a mall - established the card and gift shop, Paper Root Studio. In October, they opened a second store in Eaton's Centre. After she finished school, Evanoff was quickly accepted into Art Is Vital's fold of emerging artists. She notes, however, that achieving instant recognition isn't what it's cracked up to be. She says people expect her to paint a certain way, making it difficult if she wants to try something new. Nonetheless, Evanoff has been able to do a bit of experimenting in Measuring Natasha. Even though each of the dozen paintings features female figures, they're all quite different and range from straightforward portrait heads and dramatic close-ups to more elaborate attempts at staged symbolism. Despite her paintings' sensuous qualities, Evanoff explains, "They're more exotic than erotic. I'm fascinated by the fact they represent events you don't normally think about or see." Her favorite piece, "Hook," shows a woman sitting on fitness equipment, a metal device hanging over her head like a hook in a slaughterhouse. Measuring Natasha, which plays on the notion of women "measuring up" to society's standards, is an extension of Evanoff's "seamstress" series. Unfortunately, these images aren't as carefully rendered as the previous bunch. However, Evanoff maintains that she's less concerned about anatomical details and more interested in portraying a feeling or thought-provoking situation. For my money, though, the smaller, tightly-composed paintings in this exhibit are the most satisfying, especially the one-foot square glimpses of two hands clasped together or arms folded across a chest. Direct, intense and physical, these metaphorical moments also project a solid sculptural sensibility. This past fall, Evanoff received $10,000 from the Elizabeth Greenshields Foundation in Montreal, which awards the sum annually to artists carrying on the realist tradition. Already she has spent part of the money on floor tiles and a ventilation system for her painting studio. "I've got a lot to learn about painting," comments the 34-year-old Evanoff. "As an artist you've got to pay your dues. If you're not willing to put in 10 or 20 years, don't bother starting." The opening reception for Measuring Natasha is Saturday, May 30 from 2 p.m. to 5 p.m. |
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