Ian Everard

 

Bio


"...of lying half-asleep, half-awake in bed in the nursery in St. Ives. It is of hearing the waves breaking one, two, one, two and of hearing the splash and sending a splash of water over the beach and then breaking one, two, one, two behind a yellow blind.....It is of lying and hearing the splash and seeing this light, and feeling it almost impossible that I should be here. Of feeling the purest ecstasy I can conceive......I could fill pages remembering one thing after another that made summer in St. Ives the best beginning to a life conceivable...." Virginia Woolf, Moments of Being.

The themes I am exploring in my current work have emerged from spontaneous, involuntary imaginings and memories of the sea. An undercurrent also emerges from close readings of Virginia Woolf's descriptions of her childhood memories. Much of my childhood was spent in the same place as Virginia Woolf. We looked at similar views and heard similar sounds. We have remembered similar things. Traversal along the cliffs of the Pacific coastal region in which I live often triggers memories of the Atlantic coastal region in which I was born. My experience is like a palimpsest - I ponder similarities and differences and what lies beneath. Memories are also prompted by the acquired and inherited objects in my studio. Some are enigmatic objects, such as books about wave formation. There are also pictures of people and places I know which, paradoxically, evoke a deep sense of mystery. I use various media to describe these experiences, observations and states of mind. In my primary medium of watercolor, I try to make exact representations, even though I know exact representation is not possible. Sometimes these are presented on my drawing table, as work in progress, as if I were there. The subject matter is placed alongside its representation, as visual rhetoric - the painting questioning its subject. Among the watercolors in this body of work are painstaking copies of postcards of the house I was born in as, long before I was born, colossal waves crash against it and envelop it in surf. It's an improbable image. Did this really happen? Well, yes; I do remember being in the house when this occurred, but I still wonder. While these are specific experiences and objects, I believe I am presenting the real but evoking the imaginary. The process involves close observation, pattern recognition and questioning. There are similarities and differences, both for myself and the observer. The studio is suggested as both real and imaginary space, flooding with an imaginary sea. Real and not real. The animations describe things which may or may not have happened. Virginia Woolf, for instance, walks past the house in which I was born. This probably occurred multiple times, but not in the way I describe. Ultimately, as with much of my work, these seemingly simple procedures result in a mise en abyme, where meaning shifts between fact, fiction and hallucination.


ONE / TWO PERSON EXHIBITIONS

  • 2015

    • Felix Kulpa II Gallery, Santa Cruz, California. "Imaginary Virginia: Childhood and the Sea."(Duo, with Pippa Possible).
    • The De Young Museum, Kimball Gallery, San Francisco, California. “ InsideOut/Work in Progress.” (Solo exhibition/residency).

  • 2014

    Museum of Art and History, Santa Cruz, California. "RePlace/Work in Progress." (Rydell Award Exhibition).

  • 2010

    Sherry Frumkin Gallery, Santa Monica, California. "Twelve Suggestions."

  • 2006

    Cabrillo Gallery, Santa Cruz, California. “In Camera /Work in Progress."

  • 2004

    Palo Alto Art Center, Palo Alto, California. “To Mirror History: Ian Everard and Hanna Hannah."

  • 2003

    Museum of Art and History, Santa Cruz, California. “Extricating Memory."

  • 2000

    Mirage Gallery, Tokyo, Japan.

  • 1999

    Mirage Gallery, Tokyo, Japan.

  • 1996

    Couturier Gallery, Los Angeles, California. “Inventory. A Compendium of Errors."

  • 1995

    Hartnell College Gallery, Salinas, California. “Inventory. A Compendium of Errors."

  • 1991

    Santa Cruz Art League, Santa Cruz, California. “Repetitions."

  • 1990

    Chaminade-Whitney, Santa Cruz, California. ”Charade."

  • 1987

    • County Government Center, Santa Cruz, California. “Watercolor Theater."
    • Gallery Nuvo, San Anselmo, California. “Two Realities: Will Richwood and Ian Everard."

  • 1985

    Lido, Santa Cruz, California. “Trial and Error."

  • 1984

    • Shen’s Gallery, Santa Cruz, California. “Imperfections."
    • Virtual Image Gallery, Santa Cruz, California. ”Several Thousand Mistakes.”

GROUP EXHIBITIONS

  • 2015

    • Pajaro Valley Arts Council, Watsonville, California, “Freehand.” [Curator, Gina Pearlin].
    • Jack Fischer Gallery at CODEX Book Fair, Richmond, California.
    • R. Blitzer Gallery, Santa Cruz, California. "50/50: U..C.S.C. Alumni Exhibition."

  • 2014

    • Jack Fischer Gallery, Projects, Miami Art Fair, Miami, Florida.
    • Museum of Art and History, Santa Cruz, California.“Everybody’s Ocean.” [Curator, Justin Hoover]
    • Mark and Anne’s Art Party, San Jose, California.
    • Felix Kulpa II Gallery, Santa Cruz, California. "Love's Body."

  • 2013

    • Gallerie Califia, Horažďovíce, Czech Republic, "Regenerating Tradition: International Collaboration." [Curator, Margaret Niven].

  • 2012

    • Museum Of Art and History, Santa Cruz, California. "All You Need is Love."
    • The Blitzer Gallery, Santa Cruz, California. "Art for Art."
    • Pacific Grove Art Center, Pacific Grove, California. "Art for the Sake of Humanity."
    • Westmont Museum of Art, Santa Barbara, California. "5 x 5 Invitational."
    • Root Division, San Francisco, California. "Transducere." [Curator, Margaret Niven].
    • Sesnon Gallery, UCSC, Santa Cruz, California. "Time Lapse: 1971-2011." [Curator, Shelby Graham].

  • 2010

    Gallerie Califia, Horažďovíce, Czech Republic. "enTrance." [Curator, Margaret Niven].

  • 2009

    • Felix Kulpa Gallery, Santa Cruz, California. "enTrance." [Curators, Margaret Niven & Robbie Schoen].
    • Andrea Schwartz Gallery, San Francisco, California. "Word." [Curator, Danielle Steel].

  • 2008

    M.F.A. Exhibition, San Francisco State University Fine Arts Gallery, San Francisco, California. "SecretSecret/Work in Progress."

  • 2007

    San Francisco Arts Commission Gallery, San Francisco, California. "Immediate Future".

  • 2006

    • University of Hawai'i Art Gallery, Honolulu, Hawai'i. "Reconstructing Memories".
    • San Francisco State University, San Francisco, California. "Locus & Focus/Work in Progress".

  • 2005

    • KALA Art Institute, Berkeley, California. “The Real World”.
    • Cabrillo Gallery, Santa Cruz, California. “California - Black, White and Read”. [Juror, Dennis High].
    • Cabrillo Gallery, Santa Cruz, California. “California - Black and White”. [Juror, Paul Figueroa].

  • 2004

    • ICA, Santa Cruz, California.
    • Gallery ef, Tokyo, Japan, “Collapsing Histories”. [Curator, Aaron Kerner].

  • 2003

    • Sesnon Gallery, University of California, Santa Cruz, “Collapsing Histories”. [Curator, Aaron Kerner].
    • Grey McGear Modern, Santa Monica, California.

  • 2002

    • Grey McGear Modern, Santa Monica, California. “Image/Afterimage”.
    • Lisa Coscino Gallery, Pacific Grove, California. “Collapsing Histories”. [Curator, Aaron Kerner].
    • Senior and Shopmaker Gallery, New York , New York.

  • 2001

    • Senior and Shopmaker Gallery, New York, NY. ”A Private Reading. The Book as Image and Object”.
    • Monterey Peninsula College Art Gallery, Monterey, California. “Challenging Complacency”.
    • ICA, San Jose, California. “This is Not a Book”.

  • 2000

    • Eloise Pickard-Smith Gallery, University of California, Santa Cruz.
    • Couturier Gallery, Los Angeles, California.

  • 1999

    Mirage Gallery, Tokyo, Japan.

  • 1999

    Gallery No. 5, Santa Cruz, California.

  • 1998

    • Southern Exposure Gallery, San Francisco, California. “Nothing But Time” [Juror, David A. Ross].
    • SOMAR Gallery, San Francisco, California. “Them.” [Curator, Gary Brewer].
    • Riverside Art Museum, Riverside, California. “Illusion: Trompe L’oeil & Sleight of Hand”.
    • Couturier Gallery, Los Angeles, California.
    • D.P.Fong Gallery, San Jose, California. “Toys in Contemporary Art”. [Juror, Phil Linhares].
    • Santa Cruz Art League, Santa Cruz, California. “Award Winners”.

  • 1997

    • Couturier Gallery, Los Angeles, California.
    • Santa Cruz Art League, Santa Cruz, California. “Out of Order”. [Juror, Marian Parmenter].
    • Eloise Pickard Smith Gallery, UCSC, Santa Cruz, California.

  • 1991

    Monterey Museum of Art, Monterey, California.

  • 1990

    • Xerox Parc, Palo Alto, California.
    • UCSC, Santa Cruz, California. "Illustrating Nature".

  • 1989

    County Government Center, Santa Cruz, California.

  • 1988

    • Santa Cruz Art League, Santa Cruz, California. “Painting ‘88.” [Juror, Kenneth Baker].
    • Eloise Pickard-Smith Gallery, Santa Cruz, California. “Exemplary Contempor’y". [Juror, Richard Koshalek].

  • 1987

    State Capitol Building, Sacramento, California.

  • 1986

    County Government Center, Santa Cruz, California.

  • 1985

    Art Museum of Santa Cruz County, Santa Cruz, California. “Works on Paper/Clay” [Juror,Christina Orr-Cahall].

LIVE ART

  • 2006

    the on-going series "Works in Progress" involves performed work in progress (finding, thinking, conversing, observing, painting, drawing, etc.).

  • 1974 – 1977

    Formed BAG, in Birmingham, England, with Mark Renn and Paula Woof. BAG was a live art group, presenting improvised, multi-media works, often involving historical event reconstruction.

COLLECTIONS INCLUDE

  • The Oakland Museum
  • The Crocker Art Museum

PUBLICATIONS

  • Exhibition Catalogue, Rydell Visual Arts Fellowship Award, 2014.
  • Golden Gate [X]press, April 2008, "Master of Fine Arts Exhibit Explores Digital World".
  • Art Week, Feb. 2007, "Reconstructing Memories".
  • Exhibition Catalogue, "Reconstructing Memories". Author/curator: Aaron Kerner. University of Hawaii Art Gallery, Honolulu, HA, 2006.
  • Good Times, Sept. 6, 2006, "Work in Progress".
  • San Jose Mercury News, Dec. 2004, “To Mirror History: Ian Everard and Hanna Hannah”.
  • Santa Cruz Sentinel, May 2004, “The Art of News”.
  • Mainichi Newspaper, Tokyo, July 2004, “Contemporary Art by 14 Artists from JP, US, and the UK”.
  • Asahi Newspaper, Tokyo, 2004, “Contemporary Art at the Daigo Fukuramaru Maru: War and History”.
  • Nikkei Newspaper, August, Tokyo, 2004. “Art Exhibition Faces the Core of War, Genocide and Terrorism”.
  • PIA Magazine, Tokyo, July 2004.
  • City on a Hill Press, October 2003, “Beautiful Catastrophies”.
  • Santa Cruz Sentinel, October 2003, “Stories to Tell”.
  • Art Week, March 2003, “Collapsing Histories”.
  • New York Magazine, November 2001, "Speaking Volumes”.
  • San Jose Mercury News, April 2001, “Books That Are Not Books”.
  • The Coast Weekly, April 2001, “The Core Materials of Being”.
  • Art Week, March 2001, “This is Not a Book”.
  • Santa Cruz Metro, March 2001, “Fictitious Identities”.
  • San Francisco Weekly, January 1999, “Them at SOMAR”.
  • Etc, Art Information Magazine, Tokyo, January 1999, “Ian Everard”.
  • Art Week, May 1996, “Ian Everard at Couturier and Henry Wessel at Gallery RAM”.
  • The Californian, March 1995, “Artistic Images”.
  • The Coast Weekly, March 1995, “World in Boxes”.

RELATED WORK EXPERIENCE

  • Publishers include: Tarcher/Penguin, Ten Speed Press, Random House/Villard Books, Addison Wesley Longman, Harper Collins, Prentice Hall/Pearson Education, The Crossing Press, Discover Magazine, Pacific Discovery/San Francisco Academy of Sciences, Mother Earth News.

AWARDS / SCHOLARSHIPS / FELLOWSHIPS

  • 2011

    • Rydell Visual Arts Fellowship (recipient).
    • Fleishhacker Foundation/Eureka Fellowship (nominee).

  • 2009

    Rydell Visual Arts Fellowship (nominee).

  • 2007

    • The Murphy Fellowship (recipient)
    • SFSU Alumni Scholarship Achievement Award (recipient).

  • 2005

    The San Francisco Women's Artist's Scholarship (recipient).

  • 2004

    The George Sugarman Foundation, Inc. (recipient).

  • 2005

    Cabrillo Gallery, “California Black and White” – Juror, Paul Figueroa.

  • 1997

    Santa Cruz Art League, “Out of Order” – Juror, Marian Parmenter.

EDUCATION

  • 1975

    Stourbridge College of Art, England. B.A., Fine Art/Painting (Hons.).

  • 1990

    University of California, Santa Cruz. Graduate Certificate in Science Communication.

  • 2008

    San Francisco State University, California. M.F.A. (Hons.).