Rafael Pérez Evans, Spanish – Welsh (b. Málaga 1983) lives and works in London. He received both an MFA & a BA in Fine Art from Goldsmiths College in London.
His work has been exhibited internationally with solo-exhibitions including: Pavo Realengo at Nogueras Blanchard Gallery, Barcelona (2017); Pararrayo at Abierto Theredoom Gallery, Madrid (2017). Two-person exhibitions: Queima at Despina, Rio de Janeiro (2015); Relocating Landscape at Yusto Giner Gallery (2013). Group exhibitions including Thief, Invigilate at C3A Museum, Spain (2020) ; Salvation at Saatchi Gallery (2020) ; Unpacking, Wheels at South London Gallery & Leeds Art Gallery, UK (2019); The Devil’s Bird – Ornithomancy at Museum of Contemporary Art Taipei (2019); L’Dounne – Divination at Matadero, Madrid (2018). He is the recipient of the Henry Moore Institute & Leeds Beckett Scholarship (2019), Bloomberg New Contemporaries (2019), Chelsea Arts Club Trust Scholarship (2018), A Secas Award C.A.A.C Museum, Spain (2017) as well as being nominated for the DKV Prize, Spain (2018). He has completed residencies in C3A (Córdoba), Hangar (Barcelona), Matadero (Madrid), Red Studios (São Paulo) & Sassafrass (USA).
Rafael also has an interest in expanded pedagogies where formal and informal platforms for knowledge exchange are created and disseminated, he created Alto Residency in the jungle of Alto Paraiso (Brazil), was co-founder of Art Lab Romita 26 (Mexico City) and was part of the Gazua Curatorial Project (Rio de Janeiro). He has been a Visiting Lecturer at Central Saint Martins (UK), Leeds Beckett (UK), Nottingham Trent University (UK), University of Rochester (UK) and London College of Fashion (UK).
Pérez Evans’s artworks are usually associated with questions around sculpture, rurality, the urban and conditions of the South. He reconfigures readymades, live materials and gestures into installations that play with a central concern in his diverse production: rural shame, its anger and hope. Oscillating between bare, futile and humorous forms, at times he also borrows gestures that open a back door into paradoxes in western historical, social & political themes.