Simon Evans, Notes, 2014, mixed media on paper, 88 1/4 x 64".

Simon Evans

James Cohan Gallery | Tribeca

Simon Evans, Notes, 2014, mixed media on paper, 88 1/4 x 64".

THE AIM OF DRINKING IS PHILIP GUSTON, reads a tiny handwritten line in Simon Evans’s The Hell of Addiction,2013, BUT THE RESULT IS DENNIS QUAID. This strange, regret-filled assertion is but one among hundreds in a work that is at once a drawing, a collage, and a map, crowded with text imparting self-help advice (THE CENTER OF ADDICTION IS SELF-DECEPTION), messages of despair (OBSESSIVE NEUROTIC ACTIVITY KEEPS TRAUMA AT BAY. THIS IS NOT TRUE), and what occasionally feels like absolute truth (I FUCKING LOVE DRUGS, GIVE ME DRUGS). These wry statements flood the imaginary neighborhood that Evans calls the “jazz district,” in a crowded, palimpsest-like diagram heavily worked and reworked using tape and correction fluid, where the streets are inhabited by ghostly outlines of buildings, furniture, and people. Though the work flirts with incoherence, its anti-logic begins to double back

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