Ian Everard

Artist’s Statment :

There’s more to painting than painting. Painting is a form of thinking. My work involves the meticulous painting of objects – copying, really. I paint things that catch my eye. If I have an image of an object in my mind’s eye, I may acquire it and put it within sight, in my studio. I constantly accumulate objects, thinking they might be subjects. I seem to be drawn to books and photographs, newspapers and pamphlets. However current this subject matter might appear to be, I also see my work in an aesthetic continuum extending back to the Renaissance and, even earlier, to Mediaeval Illumination. The artists of those times were deeply involved in the effort to understand the objects that surrounded them too. In my studio, my focus may be one thing but I am also surrounded by stuff that I’ve collected. Many of the objects I choose to paint are manufactured very quickly, yet I work for many hours to represent them.  Much of the subject matter is a product of mass media, mass production and, as such, is designed for mass appeal. However, I can find deep levels of personal resonance with this material.  It seems to go without saying that no image can be taken at face value, but the process of meticulous copying reveals many layers of unforeseen meaning. Some of my choices, pulp romance novels for instance, might seem to be in dubious taste.  It is not my aim to satirize bad taste but, rather, to question what it is these artifacts, impeccably designed in their way, truly represent. The process of painting can be very revealing. So I collect tons of stuff that I might paint. My place of work is a sort of disorganized archive. The place itself has become part of my subject matter. The purest form of the work is in the studio. The accumulations are apparent – all the stuff that is the work, that informs the work, that might become the work. The studio is a sort of frame, containing worlds. Compared to more traditional forms of presentation that tend to contain individual pieces, the representation of the workspace, with much of its contents, gives access to a larger field of related work – the work in progress. It’s all about potential. The work is not one thing; it is the gradual accumulation of many things. They may or may not be subject matter. The work is work in progress.


Born 1953, St. Ives, Cornwall, Gt. Britain.

Stourbridge College, England. B.F.A. (Hons) 1975.
University of California, Santa Cruz. Graduate study
in science communication , 1990.


Institute of Contemporary Art. San Jose, CA.

Eloise pickard Smith Gallery, Santa Cruz, CA., U.S.A..
Couturier Gallery, Los Angeles, CA.

Mirage Gallery, Tokyo, Japan.

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

Couturier Gallery, Los Angeles, CA.
Santa Cruz Art League, Santa Cruz, CA. “Out of Order.”
[Juror, Marian Parmenter].
University of California, Santa Cruz, CA.


Monterey Museum of Art, Monterey, CA.

Xerox Parc, Palo Alto, CA.
University of California, Santa Cruz, CA.

Government Center, Santa Cruz, CA.

Santa Cruz Art League, Santa Cruz, CA. “Painting
’88.”‘ [Juror, Kenneth Baker].
Eloise pickard-Smith Gallery, Santa Cruz, CA.
“Exemplory Contempor’y.” [Juror, Richard Koshalek].

State Capitol, Sacramento, CA.

Government Center, Santa Cruz CA.

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


Mirage Gallery, Tokyo, Japan.

Mirage Gallery, Tokyo, Japan.

Couturier Gallery, Los Angeles CA.
“Inventory. A Compendium of Errors.”