CABIN FEVER by Santiago Evans Canales

6. Juni bis 31. August 2020

Santiago Evans Canales (*1996) ist ein Künstler aus Mexico City. Er wuchs in verschiedenen Ländern Süd- und Nordamerikas auf und lebt derzeit in Antwerpen, Belgien. Er bezieht seine Inspiration aus autobiografischen Erlebnissen und Unterhaltungen, die zu einem zeitgenössischen magischen Realismus werden.

CABIN FEVER ist seine überhaupt erste Einzelausstellung.

June 6 until August 31, 2020

Santiago Evans Canales (*1996) is an artist from Mexico City who grew up in different parts of the Americas and currently works and lives in Antwerp, Belgium.
He takes inspiration from the autobiographical as well as conversations in his life that become part of the contemporary magical realism that is in his world of color and abstract figuration.

CABIN FEVER is his first solo exhibition ever.

CV
RISD Pre-collage Program 2013
SAIC 2014 -2016
Royal Academy of Fine Arts Antwerp BFA 2020

Group Exhibitions
2020 Tick Tack “Tangier”, Antwerp, Belgium
2019 Berchem Cuulturcentrum “Mexico on My Mind”, Antwerp, Belgium
2019 Royal Academy of Fine Arts “At Random”, Antwerp, Belgium
2019 Showhouse Jayjay “Velvet Ropes/GIFC”, Antwerp, Belgium
2018 O´Hanlon Center for the Arts “Tell me a Story”, Mill Valley, CA, USA
2018 Carthusian Monastery “Ithaka #26″, Leuven, Belgium
2017 Museum aan de Stroom” “WATT/Pink T.V.”, Antwerp, Belgium

Text by Domenico de Chirico

Santiago Evans Canales, born in 1996, is an artist originally from Mexico City who grew up in different parts of the Americas and currently lives and works in Antwerp, Belgium.

In his artistic practice, made up of color and abstract figuration, he takes inspiration from references both autobiographical and historical as well as the fantastical and contemporary magical realism. His work is parallel to all those changes that have characterized his personal life and constitutes a clear attempt to jealously preserve the fruitful wonder and sense of imagination childishly tempered throughout the stages of his life. His notebooks, vademecum faithful, as well as his adjacent drawings, are a way to develop the different stories that he creates in his mind.

When he paints, he uses long brush strokes to slowly track down the image through different textures and vivid bands of color in the initial layers of paint. His work is undoubtedly influenced by observation, abstraction, imagination, and elective conversations. An extraordinary fever seems to have struck Santiago Evans Canales during the entire period of production of this new series of works, grouped together in this solo exhibition aptly titled “Cabin Fever.” While the whole world was focused on the spread of a virus, overwhelming and unknown, and on attempts to manage it, Evans was viscerally immersed in something extremely familiar, an evil so benign it could only be perceived in the more acute moments of its course, legacies of the past, atavistic sensations, gentle habits, smells never completely eliminated and above all, colors shaken by an inner flow that touches the tempo of movie stills. So here before our eyes we see the mysterious results of rotations of the theatrical camera, rotations addressed to the artist himself, of fanciful unlikely biographies, of mnemonic objects, of animals that dictate the rhythm of a life, of figures on a large scale that kick the line between reality and fiction further and further away. The warmth of Santiago’s painting does not lay exclusively in the choice of colors but also in the overall set of elements at play. Every addition, even in the sculptural works present, contains the flavor of both fantasy and memory, a naive but conscious state in which awareness unfolds the complexity of its creation. A true and personal magical realism, and a lucidly astonished vision of reality, is what you admire when you pose yourself in front of the works that constitute “Cabin Fever.” Step by step reality develops a character of magic given by the visual emphasis of a gesture or an object and their permanence in time, as if their familiarity made them eternal, almost sacred, and therefore magical – magic obviously aided by the exercise of imagination – which is at the same time extremely real because it is cyclically possible or has already happened. Here before us is an excited fever… resulting from the simultaneous acceleration of frames of consciousness. A fever, which we can thank for being able to catch a glimpse of an ecstatic child, in the presence of a macrocosm that explodes constantly and performs in a heterogeneous jubilation of shapes and colors, a sort of New Cinema Paradiso that is aware of kinetic art generated and transplanted using acrylic on paper and of which Santiago Evans Canales is the only and undisputed projectionist.

Photos by Seweryn Żelazny

Santiago Evans Canales

„MAXIMILIAN AND FIGARO“

2020

acrylic on paper

305 x 150 cm

Santiago Evans Canales

„Xoloitzcuintle“

2020

sculpture with Fimo, painted

ca. 15 x 18 x 7 cm

Santiago Evans Canales

„THE WOMAN WITH THE PEARL NECKLACE“

2020

acrylic on paper

150 x 120 cm

Santiago Evans Canales

„REAR WINDOW“

2020

acrylic on paper

215 x 150 cm

Santiago Evans Canales

„THE MORNING STRETCH“

2020

acrylic on paper

215 x 150 cm

Santiago Evans Canales

„DIVING INTO TABLE“

2020

acrylic on paper

150 x 277 cm

Santiago Evans Canales

„BORIS IN ISOLATION“

2020

acrylic on paper

150 x 220 cm

Santiago Evans Canales

„SKITTLES IN ENTRE RIOS“

2020

acrylic on paper

215 x 150 cm

Santiago Evans Canales

„CARLOTA“

2020

oil on canvas (unstreched)

308 x 208 cm

Santiago Evans Canales

„BALLERINO“

2020

sculpture with Fimo, painted

ca. 7 x 50 x 25 cm

Santiago Evans Canales

„WILD ABOUT ANIMAL CRACKERS“

2020

Acrylic on canvas

150 x 120 cm

Santiago Evans Canales

„EL PINTA CUERNOS“

2020

Acrylic on wood

150 x 150 cm

Santiago Evans Canales

„MAXIMILIANO“

2020

sculpture with Fimo

ca. 30 x 25 x 20 cm

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