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artscope magazine: March/April 2012
Welcome Statement: Brian Goslow, managing editor
cornered: A CONVERSATION WITH JASON TALBOT, AFH SPECIAL PROJECTS DIRECTOR
A New Vision: Modernist Photography
Hans-Christian Lischewski Untitled: A Retrospective
Shapeshifting: Transformations in Native American Art
The 2012 deCordova Biennial
The 2012 DeCordova Biennial
Tapestry (Radio On): New Work by Victoria Morton at the Gardner
Catherine Evans: Copious
Amy Goodwin: What She Saw
Matt Albanese aka MCA
Janet Rickus
101 Photos for Press Freedom
The Providence Art Club
Tanja Alexia Hollander: Are You Really My Friend?
Coming of Age: New England Artists Under 30
Natural Wonders: Anda Dubinskis, Marcy Hermansader and John Udvardy
Environment and Object: Recent African Art
Wax is a Verb
Wanderlust: New Haven
Capsule Previews
Catherine Evans: Copious
Brian Goslow


It started innocently enough.



“My granddaughter was in Girl Scouts, and one day she came home and said, ‘Do you know how to do gimp, Grandma?’” recounted Catherine Evans, who had somehow escaped the childhood rite of passage of playing with plastic craft lace. Undeterred, she hopped online, learned a few stitches, and like millions before her, fell in love with the movement of the material.Twenty-plus miles of gimp later, she’s still going.



Once Evans, who works out of a studio at ArtSpace Maynard, becomes entranced with an object, she’ll work with it obsessively. “I was raised on a farm and had to amuse myself,” she explained.





“Clementine,” a wall-sized collection of discarded orange boxes drenched in white paint, takes up an entire wall outside her studio. “It was the first piece I made; making it I realized you really have to follow the art,” she said. “The boxes are so beautiful; all of them are different because they’re made so poorly. It was like trying to staple Jell-O.”



Evans likes working with multiples of things. “I did a series for six years with rubber bathmats,” she said. “I love working with grids and it has a built-in grid.” Gimp was the next step.



“When I started doing this, my granddaughter had just moved in with us,” Evans said. “It was the beginning of having to sit and talk, chaperone and being with, so doing this was real soothing to me. It’s tranquil and peaceful.”



Evans started working with gimp in the fall of 2009. “It’s organic,” she said. “I went from one, to two, to 65 strands. The first piece, ‘14.2 Miles of Gimp,’ was displayed at the Danforth (Museum of Art in Framingham). For Regis College, I increased it by 30 percent — to ‘19.2 Miles of Gimp.’ Now it’s ‘20-Something Miles of Gimp.’”




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