Inside the studio with Kate Evans

We catch up with illustrator-turned-fine artist Kate Evans on the wonders of watercolours and her penchant for the post-Impressionist greats.

Kate Evans at work in the studio; detail from Beneath the Forest Canopy.

When did you first pick up the paintbrush?

About 14 years ago, not long after I joined Jamaica Street Studios (where First Contemporary is based). I first joined the studio as an illustrator, but my floor was full of fine artists and it quickly rubbed off on me! While I was busy working on commissioned illustrations, I was surrounded by artists creating exactly what they wanted. It was exciting to see and I soon wanted to try it myself.

Has your background in illustration influenced your practice?

Definitely! In fact, my work is still quite illustrative. My paintings are very much drawing-based with an emphasis on mark making. I do believe my background has made me more disciplined, too, as I’m used to meeting deadlines and making work for other people. 

Illustrations, sketches and works in progress pinned to the wall of Kate Evans' studio.

Can you tell us about the works you’ll be showing at Battersea Affordable Art Fair?

It’s so exciting to be exhibiting at Battersea Autumn this year. I’ve really enjoyed working on a series of paintings that work together as a collection and, of course, it’s fantastic to have my work exposed to such a large audience. I'll be showing a selection of paintings of barns in vast landscapes inspired by multiple trips to Canada. My sister lived in Ontario for a couple of years and I was struck by the characterful barns you see everywhere. They’re often patched up so unusually, with sheets of corrugated iron and wooden panels – they become like patchworks themselves. I became fascinated by the history of them and the stories they could tell.

I’ll also be showing a series of tree studies. I’m drawn to the patterns on the trunks of trees (particularly birch and beech) and often use them as a basis for more abstracted designs. Many of these studies are of Constantine Woods near Falmouth, where my partner grew up and where we often return to. The trees there are particularly quirky – a complete tangle of different shapes! This series is much more abstract and uses a mix of media – watercolour, ink and oil. What I enjoy most about watercolour is the accidental mark making you get with it. You never quite know how something’s going to look until you put the paint down and see how the colours blend and are absorbed into the paper.

Detail from Turquoise Beach Cabin; watercolour works pinned to the wall of Kate Evans' studio.

We hear congratulations are in order! With a recent addition to the family, how do you juggle painting and parenthood?

My little boy is almost two now and keeps me very busy! Naturally that means I have far less time at the studio, but it has certainly made me more focused. I have to really knuckle down during the hours I spend there – much less chitchat with studio friends! I think it has had a positive effect on my work, too. My paintings are less laboured and perhaps bring a freshness as a result.

You recently illustrated Cerys Matthews’ retelling of Under Milk Wood by Dylan Thomas. Can you tell us about the project?

This project was an enormous undertaking! It was for an abridged version of Under Milk Wood aimed at children. As you can imagine, it was heavily edited – the original covers a lot of adult themes. Cerys Matthews is a massive Dylan Thomas fan and hugely knowledgeable. She essentially art directed the book, which consists of 40 double page spreads. We only had about six months to produce the book and towards the end of the project, I was producing a double page spread a day. That’s pretty much unheard of in the world of illustrated books! Though stressful, it was worth it in the end – what a privilege to illustrate such a prestigious text.

The cover of Cerys Matthews' retelling of Under Milk Wood, illustrated by Kate Evans.

Which other artists inspire you?

I’m so inspired by post-Impressionist French painters – the likes of Bonnard, Vuillard and Matisse. But also more recent contemporary artists, like Scottish painter Andrew Cranston and Swedish artists Mamma Andersson, Per Kirkby and Andreas Eriksson.

And if you could own one famous work of art, what would it be?

It’s so hard to choose just one! But it would have to be a Vuillard or a Bonnard. Bonnard’s ‘Nude in the Bath’ or ‘Normandy Landscape’ would be strong contenders, or any of the Vuillard interiors like ‘The Green Interior’ or ‘The Yellow Curtain’.

Adding the final details to Beneath the Forest Canopy.

Discover more from Kate Evans