Selected Works

NEW YORK – Miles McEnery Gallery is pleased to announce “someofsomeofall,” an exhibition of new works by Franklin Evans, on view 30 January through 15 March 2025 at 520 West 21st Street. Accompanying the exhibition is a fully illustrated digital publication featuring an essay by David Ebony – BRAINSPACE: Recent Works by Franklin Evans.

Color, art iconography, modernist geometry, and repetition lead Evans’ newest body of work, which continues his multi-decade exploration of art as a living, evolving practice. Drawing from a vast lexicon, his work employs images from a shifting pantheon of artists - Dana Schutz, Henri Matisse, Judy Pfaff, Joan Brown, Morris Hirshfield, John Dilg, and many others. Evans translates these diverse inspirations into a visual language that fields abundant worlds, which he refers to as his “brainspace.”

At the heart of Evans’ practice lies the artist’s studio—a space in constant flux, where he engages in a perpetual dialogue with this treasured place. His works are living, breathing entities that capture the dynamic intersection of personal evolution and shifting art historical currents. As Evans works on multiple canvases at once, they move from wall to floor and back, absorbing both incidental studio tracings and analytic time. Evans observes each evolving painting in isolation as it emerges from his visually dense studio and as he discovers new relationships among the emerging collective group.

Evans’ canvases pulse with painterly neuroplasticity—sharp orthogonal lines dance across the surface, suggesting synaptic connections among reverberating motifs. These paintings set in motion mappings of layered timeframes from the artist’s fluid brainscapes. As viewers, we are invited not only to delight in their pictorial dynamics but also to reflect purposefully on our space, community, and shared history.

David Ebony notes that Evans’ works, “...establish intricate networks of roadways, tunnels, corridors, conduits and alleyways, and even meandering forest pathways. Ultimately, they provide metaphoric transport to another place, time or dimension, with the destination being a singularly inevitable ‘here.’”