Winfred Evers

Galerie Jurka

Winfred Evers’ photographs seem first of all to relate to Constructivism, and to follow in the footsteps of such artists as Alexander Rodchenko, Wassily Kandinsky, and Paul Klee. Evers exploits the Constructivist form, but creates new boundaries for it by basing the work on photographic foundations.

It continues to be a truism that (art) photography deals with the relationship between the image and the reality it portrays. One’s appreciation of Evers’ photographs is largely based on this relationship. The most fantastic conjuring tricks seem to have been involved in the making of his images, but one can see how the illusion has been created. The enigma grows as Evers develops new tricks, and becomes all the more acute as the tricks’ foundations become more evident. When we look carefully at the marvelous graphic construction in one untitled work from 1982, we see that it is made from bits of torn-up cardboard. And now that we are interpreting the work, we also happen to notice a wastepaper basket with bits of cardboard sticking out of it. The whole picture is arranged as if the construction has arisen out of this bin—and as if Evers is giving his trick away.

The picture does, however, retain an ambiguity which forbids simultaneous perception of its graphic, two-dimensional qualities and its photographic, three-dimensional, almost literary quality. Evers manages to make this paradox tangible. That the illusion retains its effect despite our knowledge of how it works makes it the more impressive.

Evers’ method is not an easy one. It balances between the trite and the elevated. It speaks in his favor that all of the twenty-odd works here were fascinating.

Gerald Van Der Kaap