Gregory Evans
Turning from comic to fine art is like taking a very long journey over a very short bridge.
All artworks by Gregory Evans
The Earth is Alive (2025) • 12 artworks
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THE EARTH IS ALIVE This one came about around a dozen years ago. Me and my wife and partner in all things [...]
THE EARTH IS ALIVE
This one came about around a dozen years ago. Me and my wife and partner in all things had come up with a few designs for an exploration into printed tees. That didn't pan, though the designs remain, so I picked this one to develop into what it is now - a limited monoprint series. How to execute it was a challenge using my current techniques, but I knew I could do it. It ended up with a bit more hand-done linework than my other series, but I knew it would. It was part of the plan.
The earth IS alive...
This one came about around a dozen years ago. Me and my wife and partner in all things had come up with a few designs for an exploration into printed tees. That didn't pan, though the designs remain, so I picked this one to develop into what it is now - a limited monoprint series. How to execute it was a challenge using my current techniques, but I knew I could do it. It ended up with a bit more hand-done linework than my other series, but I knew it would. It was part of the plan.
The earth IS alive...
Meet the New Boss (2025) • 12 artworks
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Meet the New Boss is really intended to evoke a sort of forgiveness towards those new individuals who [...]
Meet the New Boss is really intended to evoke a sort of forgiveness towards those new individuals who find themselves in the midst of an established group of people who are disturbed by the presence of this new interloper, of sorts, in a group not altogether approachable. Outsiders never have it easy, and we are all quick to assume the worst has arrived, not considering that something new and different may be exactly what is needed. Being an underdog supporter, one has to welcome things at face value, forgoing any judgement, and offering welcome to new opportunities.
Quatre Chapeaux (2024) • 12 artworks
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I was feeling a bit cultural with this one, or maybe all these years living in France has gotten me [...]
I was feeling a bit cultural with this one, or maybe all these years living in France has gotten me going native. France has, indeed, changed me. Though I'm not involved with haut-couture, in the western world, high fashion always feeds us, the masses, to some extent, and this extends itself into our headgear here, making hats a more creative field than you'll notice in the far west. I suppose if France had pro-baseball, logo-placement ball caps would suit, but these kind of caps generally serve best in the requisite days working in the garden. The rest is fair game!
This is a tribute to a country that supports hat-culture.
These are executed (mostly) with gouache on 300 gram/140 lb watercolor paper with a gentle texture. They will require being matted and framed.
Each is embellished in unique ways, signed, titled, and numbered in sequence 1/12 to 12/12 with the mark EV signifying Edition Variable.
This is a tribute to a country that supports hat-culture.
These are executed (mostly) with gouache on 300 gram/140 lb watercolor paper with a gentle texture. They will require being matted and framed.
Each is embellished in unique ways, signed, titled, and numbered in sequence 1/12 to 12/12 with the mark EV signifying Edition Variable.
DUDE (2024) • 12 artworks
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Dude! How this term became part of the late 60s and 70s surf subculture in California is hard to say, [...]
Dude! How this term became part of the late 60s and 70s surf subculture in California is hard to say, but it did. Predating the more urban "Homie," or "Holmes," in America, it was used by cowboys prior to denote and outsider, a wannabe, an east coaster who found himself derided in the west essentially for being way overdressed in a land where dust and dung filled dirt streets prevailed. A kook, in other words.
In our little world, it was a title, an honorific. If you were called dude, you were in the cadre, the cabal, of other like-minded dudes - free-thinking, out there, usually high (or at least more than willing to be), and most particularly, a well-tanned, strong, wild and free, young man. Oh, a dude was usually a surfer, but the term could be used as a placeholder for a cool non-surfer as well, and in general anywhere you wanted in place of various, more objectionable swear words.
These are executed (mostly) with gouache on 300 gram/140 lb watercolor paper with a gentle texture. They will require being matted and framed.
Each is embellished in unique ways, signed, titled, and numbered in sequence 1/12 to 12/12 with the mark EV signifying Edition Variable.
In our little world, it was a title, an honorific. If you were called dude, you were in the cadre, the cabal, of other like-minded dudes - free-thinking, out there, usually high (or at least more than willing to be), and most particularly, a well-tanned, strong, wild and free, young man. Oh, a dude was usually a surfer, but the term could be used as a placeholder for a cool non-surfer as well, and in general anywhere you wanted in place of various, more objectionable swear words.
These are executed (mostly) with gouache on 300 gram/140 lb watercolor paper with a gentle texture. They will require being matted and framed.
Each is embellished in unique ways, signed, titled, and numbered in sequence 1/12 to 12/12 with the mark EV signifying Edition Variable.
Trois Vagues (2023) • 12 artworks
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I'd like to think that this one was inspired by the world famous woodblock print called the Great Wave [...]
I'd like to think that this one was inspired by the world famous woodblock print called the Great Wave off Kanagawa by Japanese ukiyo-e artist Hokusai, but I forgot the three boats, so I don't really know if it was. Maybe it was derived compositionally from an earlier painting of my own depicting three shapeshifting kiva elk-men. Hmmm...
All things aside, my technique is only just exposing itself to me with its potential.
Enjoy the video.
All things aside, my technique is only just exposing itself to me with its potential.
Enjoy the video.
DON AND SCRIBE (2023) • 12 artworks
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In 1955, Pablo Picasso had done a sketch (which I believe was an image that went to print, though done [...]
In 1955, Pablo Picasso had done a sketch (which I believe was an image that went to print, though done by which method I know not) of Don Quixote and his Scribe on horseback, presumably off to battle giant monsters disguised as windmills, or something. When I first saw this image, I remember thinking that it couldn't be Picasso's work, it was so out of character, at least to my eyes. It would be later that I found out it was actually Pablo's nod towards another artist he admired, one I also had great respect for, an artist named Toulouse Lautrec. Pablo's image was indeed an interpretation, and unique, of course, and was my initial inspirartion.
This series represents a nod from me to both artists, and in recollection of those works, I wished to maintain the sparse mood portrayed by Picasso, and the liveliness of Lautrec, while also putting fair distance between them and me so as not to disrespect. It was not a hard choice to move into the rich and vibrant multi-coloured world of our contemporary age.
These were done in 2023;
These are executed with gouache on 300 gram/140 lb watercolor paper with a gentle texture. They will require being matted and framed.
Each is signed, titled, and numbered in sequence 1/12 to 12/12 with the mark EV signifying Edition Variable.
This series represents a nod from me to both artists, and in recollection of those works, I wished to maintain the sparse mood portrayed by Picasso, and the liveliness of Lautrec, while also putting fair distance between them and me so as not to disrespect. It was not a hard choice to move into the rich and vibrant multi-coloured world of our contemporary age.
These were done in 2023;
These are executed with gouache on 300 gram/140 lb watercolor paper with a gentle texture. They will require being matted and framed.
Each is signed, titled, and numbered in sequence 1/12 to 12/12 with the mark EV signifying Edition Variable.
Une Vague (2023) • 12 artworks
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Many years ago I had been experimenting with a series of prints done in a way that had no precedence. [...]
Many years ago I had been experimenting with a series of prints done in a way that had no precedence. The results were totally viable, but it seems to have been something that had to fester within me before becoming mature. Finally, it came calling, and so I'll call this series my first time doing monoprint with full intention. I'd just moved north to the Brittany region in France in 2022, leaving a warm, sunny part of France in the southwest after a dozen years. Suddenly, I found winter pretty darned cold for a good ten weeks or mre. Studio painting was out (it hadn't yet been outfitted), even so, this would prove to be an activity that would be worthy of pursuit anytime my unheated future studio would require. I'd prepared a worktable in a spare room in the house, which thankfully is heated, and then spent many hours practicing this monoprint technique. Really, even with that short foray into the lands of transfer printing in the distant past, I was clueless, and I didn't even know what the technique was called, but I did have the materials and tools that were needed.
The results had me fired up, which came with the truth that doing prints like this would change me, though I would have to refine the technique AND change my vision, the way I would see things. Because of this, this series has become quite special to me. They are exceptional in that they were so experimental, so innocent and unplanned, uncontrolled. While spontaneity remains one of those things about this process that I love, the surprise of the results, this one is by far my most childlike of my monoprint series.
The results had me fired up, which came with the truth that doing prints like this would change me, though I would have to refine the technique AND change my vision, the way I would see things. Because of this, this series has become quite special to me. They are exceptional in that they were so experimental, so innocent and unplanned, uncontrolled. While spontaneity remains one of those things about this process that I love, the surprise of the results, this one is by far my most childlike of my monoprint series.
Hommes en Bôites (2022) • 12 artworks
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At the end of October of 2020, France went into its second period of lockdown due to Coronavirus. By [...]
At the end of October of 2020, France went into its second period of lockdown due to Coronavirus. By this time we were no strangers to the unexpected, so it was no surprise that the idea of this series came about. I had just finished my first six paintings since taking up the use of oil paints and was ready for something new, and here it was. No matter our age, color, sex, political or religious preferences, we had all endured this “enclosure” earlier in the same year – one and the same, there was no discrimination in this adventure. The realities of governed life indeed showed us the prison that can so easily be created by a sneeze. The choice of politicians and media to propagate the term “lockdown” was no coincidence – this was a jail we found ourselves in. This event, our second confinement, our being put into those proverbial, metaphoric boxes, was the incentive I needed to justify ordering a dozen tubes of paint.
The interesting thing about boxes is that even without those executive, political directives that insisted we take our places in such boxes, we already existed in boxes of our own design. These boxes are created by our beliefs, and by our own limiting choices. The lesson in these boxes lay in the fact that however we perceive them, we are still free to choose how this boxes appear to us, how they feel to us, how big or small they seem to be, and what we allow ourselves to do in them. It is our choice how beautiful and thrilling our boxes can be, and our choice to be self-responsible
Painted with oil paints on canvas mounted to wood panel. Additive and subtractive methods were used with the paints Typically, brushes, knives, sandpaper, cotton batons and toothpicks and fingers were the tools. The paintings are finished with artist's cold-wax, and each painting measures 50 x 50 centimeters.
Each of these come with a hand-made custom frame that I include at no additional charge to you, and so are ready to hang, with a total, overall measurement of 60 x 60 cm.
The interesting thing about boxes is that even without those executive, political directives that insisted we take our places in such boxes, we already existed in boxes of our own design. These boxes are created by our beliefs, and by our own limiting choices. The lesson in these boxes lay in the fact that however we perceive them, we are still free to choose how this boxes appear to us, how they feel to us, how big or small they seem to be, and what we allow ourselves to do in them. It is our choice how beautiful and thrilling our boxes can be, and our choice to be self-responsible
Painted with oil paints on canvas mounted to wood panel. Additive and subtractive methods were used with the paints Typically, brushes, knives, sandpaper, cotton batons and toothpicks and fingers were the tools. The paintings are finished with artist's cold-wax, and each painting measures 50 x 50 centimeters.
Each of these come with a hand-made custom frame that I include at no additional charge to you, and so are ready to hang, with a total, overall measurement of 60 x 60 cm.
Corona Six Pack (2021) • 6 artworks
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This series is called “a Corona Six-Pack”, so named because it appeared with the beginnings of what [...]
This series is called “a Corona Six-Pack”, so named because it appeared with the beginnings of what used to be called Coronavirus but was renamed Covid-19. Many things changed with the start of this new era, including my work. It was then that I officially realized that I was no longer an acrylic painter but an oil painter, that I was no longer an artist driven by obsessive illustration and control, and that I finally abandoned my self-imposed limits on my capabilities, in terms of size and skill. This when I started stretching my own canvases.
These images have little to do directly with each other, but they do relate to the paradigm of the time, when we all had to choose between many things. These are mainly a seires in the sense that these were all being executed at the same time, in the same medium, on the same sized canvasses. I've juxtaposed ideas with questions such as Do we want joy and celebration - happiness, or do we want control and limitation? Do we see life as a misery or a mystery? From celebration to protest, priestesses to the mother of all that is, our answer is always present.
Made in oil on canvas, each measures 95x150 cm, with 3 done in landscape format and 3 in portrait format.
These images have little to do directly with each other, but they do relate to the paradigm of the time, when we all had to choose between many things. These are mainly a seires in the sense that these were all being executed at the same time, in the same medium, on the same sized canvasses. I've juxtaposed ideas with questions such as Do we want joy and celebration - happiness, or do we want control and limitation? Do we see life as a misery or a mystery? From celebration to protest, priestesses to the mother of all that is, our answer is always present.
Made in oil on canvas, each measures 95x150 cm, with 3 done in landscape format and 3 in portrait format.
Late for Supper (2020) • 1 artwork
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So the Solar King, he calls us around, a "gather" he called it, and as we wait, he turns, looking each [...]
So the Solar King, he calls us around, a "gather" he called it, and as we wait, he turns, looking each of us in the eye, looking left, right, right to left and left to right, maybe he was counting us to be sure we were twelve, but we were always twelve, but he counted anyway, maybe, and as we waited, we knew something was up, until he finally said, clearing his throat, and he finally said, "Well, boys, I guess we're gonna be late for supper."
Recognition
Published in the media
The artist has been published in the media, radio or TV press
The artist has been published in the media, radio or TV press
Presented in Art Fairs
The artist participates in art shows and fairs
The artist participates in art shows and fairs
Professional Artist
Exercises the profession of artist as a main activity
Exercises the profession of artist as a main activity
Biography
Born in 1957 in Wimpole Park, Cambridgeshire, England, Gregory was raised in the wild and savage streets of the 1960s and 1970s in the beach communities of Santa Monica and Venice in Los Angeles, participating in the hippie, surfing, skateboarding, and punk revolutions of the time, all of which left an indelible mark on him for life . He currently lives and works in Mayenne, France. His work is owned and exhibited by private collectors in America, Holland, France, Italy, England and Scotland. The artist graduated in graphic design and found his way into the world of fine arts where he is self-taught.
In the artist's words -
I’m fascinated by life, and in particular by human behavior – for me, its all about relationship. I’m always amazed how we, as people, interact with what is around us, our response to the stimuli of the world, whether negative or positive. I tend towards storytelling, displaying the relationships we have in relation to where we are in our lives, how we’re placed in our environments. This allows me to explore both the concrete and the abstract. My research explores our stories, the myths of humanity, in a simple and direct way, without judgment, so that we can better understand ourselves and our world better.
I’m seduced by a blank canvas quickly and easily, accepting that provocation deliberately and with a fiercely planned spontaneity. I see the blank canvas as the void itself, an abyss of potential, knowing that all things and anything can appear in what is essentially just a mirror of one’s self. Some would say this emptiness, this void, is intimidating — to be staring at a nothingness that will soon be filled by the unknown is a heavy burden if taken too seriously, but for me, it is a priceless thing, its a brilliance that shines in a way that nothing else can. I thrill to the challenge of aiding those abstract concepts through into the realm of the concrete.
My work is enigmatically lyrical, cryptic, sometimes sinster and always, always playful. I push and probe without forcing things – my goal is to pay homage to our human condition in its joy and vigor, its madness and fragility, its purity and its corruption, in all its problems and all its solutions.
I use a variety of mediums and supports, although my main work is done in oil on canvas in all formats – small to medium, large to extra-large, and I always have multiples going at one time, up to a dozen or so. My colors and approach are bold and challenging, only slightly guided by laws which are much more flexible than most would consider.
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Nationality:
FRANCE
- Date of birth : 1957
- Artistic domains: Works by professional artists,
- Groups: Professional Artist Contemporary French Artists
Ongoing and Upcoming art events
No data available yet
Influences
Education
1990 - 1991
Platt College School of Design
San Diego,
California,
United States
1977 - 1978
Art & Art History
Santa Monica,
California,
United States
Artist value certified
No data available yet
Achievements
Collective Expositions
2025
Gallerie Maison Bleue -
Craon,
France
2022
Salle Mûrier - Livre A4 -
Craon,
France
2021
Chateau Des Eveques
Issigeac,
France
2018
Chateau Des Eveques
Issigeac,
France
Publications & Press
2019
Tubes Artist Group Journal -
France
2020
Painters Tubes, Issue #16
Norway
2020
Tubes Artist Group - Exhibition Catalog “Madcaps And Scapegoats” -
Norway
2023
Modern Renaissance - Spring Edition -
United States
2024
Ouest France Actualités - Edition 4 Fevrier
France
2024
Haut Anjou Actualités - Edition 5 Janvier
France
2025
Artseen Magazine - Fall Edition -
United Kingdom
2025
Painters Tubes, Issue #14
Norway
Solo Expositions
2024
Galerie Troismurs - Men In Boxes -
Savenniéres,
France
2020
Painters Tubes - Madcaps And Scapegoats -
Norway
2015
Customind Concepts -
Bordeaux,
France
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Last modification date : Apr 23, 2025
(Member since 2025)
Image views: 10,898
Artworks by Gregory Evans added to favorite collections: 8
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