Chris Evans’ work often evolves through conversation with people from diverse walks of life, selected in relation to their public life or symbolic role: the directors of a leading champagne house, a former member of the British Constructivists, the CEO of a Texas pharmaceutical company, a selection of elderly Italian politicians etcetera. Sculptures, letters, drawings, film scripts and unwieldy social situations created as a result of this, are indexes of a larger structure through which Evans deliberately confuses the roles of artist and patron, genius and muse.
Recent exhibitions include solo presentations at: Luettgenmeijer, Berlin ("Goofy Audit" (2011)); Marres, Maastricht (‘The Cell That Doesn’t Believe In The Mind That It’s Part Of’ (2010)); Mala Galerija, Ljubljana (‘I Don’t Know If I’ve Explained Myself’ (2010)); Objectif Exhibitions, Antwerp (’Take A Bureaucratic Bow’, (2009)); Galerie Juliette Jongma, Amsterdam, The Netherlands (’Point at it, like a farmer at a pig’, (2008), and Lüttgenmeijer, Berlin (’What’s the point of a revolution without copulation, copulation, copulation’, (2008)). In 2007 he undertook a residency at Artpace, San Antonio culminating in a solo exhibition and the following year produced a series of artworks under the title ‘As Simple As Your Life Used To Be’ at the British School in Rome.
His work has also been shown as part of group exhibitions such as: ‘The Indirect exchange of uncertain value’, Collective Gallery, Edinburgh (2011), ‘Taipei Biennial 2010’, Taiwan; ‘An Unpardonable Sin’ Castillo/Corales, Paris (2010), ‘Talk Show’, ICA, London (2009), ‘Lapdogs of the Bourgeoisie’, Arnolfini, Bristol (2009); ‘A Fantasy for Alan Kaprow’, CIC, Cairo (2009); and ‘The Impossible Prison’, Nottingham Contemporary (2008), “Destroy Athens”, the 1st Athens Biennial (2007), "Memorial to the Iraq War" at ICA – Institute of Contemporary Art, London (2007), "I really should..." at Lisson Gallery (2005) and “British Art Show 6” , Hayward Gallery, London, touring UK (2005-2006).