by Luke Norman
In the few write ups and press myself (& Nik) have been subject to during these early stages of photographic development, the reoccurrence of the word ‘playful‘ seems an ever present feature. It would be untrue to label one person responsible for my complete outlook on photography, but Jason Evans has influenced myself (and many others, I am sure) both creatively and personally, significantly contributing to my underlining approach and love of photography.
© Jason Evans.
I would have no difficulty in simply discussing Jason’s work and his contributions to the photographic community, however I feel it would be more insightful to look at how his character and guidance over the years had directed and shaped my outlook.
I first met Jason while studying photography at UCA where he lectured and tutored until 2009. After befriending a few students from the year above who often spoke very highly of Jason and appeared to hang on every word he spoke, I was curious to see why, however their fascination was in my eyes soon justified. Jason’s seemingly flippant and lighthearted approach to photography was at times seen as ‘weird’ or possibly ‘too odd’ for a few of my fellow studying peers. However I feel these opinions simply lacked imagination without having thoughtfully questioned and considered his tastes and teaching methods. Each to their own. I found Jason’s desire to push and question a student’s work a breath of fresh air, his honesty and uncompromising critique was a key part of my photographic education. When in times of unease and loss with my own practice, Jason’s insight would often shed new light and re focus my work.
© Jason Evans.
At a time when my own work was in need of direction Jason guided me toward the work of Roger Ballen, specifically his 2005 series Shadow Chamber. This was a huge moment in my personal photographic path back in 2008. This series not only helped me inform my work at the time, but also enabled me to understand that odd / nonlinear / dark and misleading images could engage and be considered a body of work within a context that fits. Jason’s own wealth of influences and knowledge on photography is a chasm which seems to have no end. His stint as guest editor of the Photoworks, Autumn / Winter – 09 / 10 Japanese Issue not only reflects this opinion but smashes it out of the park.
© Photoworks Magazine, 2009.
Throughout my time of study at UCA, Jason gave myself and many other students the chance to assist him on a number of editorial and commercial commissions such as POP Magazine, EMI & earlier this year Arena Homme Plus. As ever an enjoyable experience, but for me most poignantly an invaluable insight into how a photographer like Jason tackles and approaches ’work’. Which more often than not, is how he would approach his own practice, with a dash of playfulness. I feel this lies at the very heart of Jason’s practice, an infectious sense of fun and intrigue that always provokes and captivates. It’s evident in both his photographic and curational work, that Jason finds photography enjoyable, making images is not work but a process in which vivid colours and a genuine fascination with light, objects and people produces soul warming moments.
© Jason Evans
Going back to one of the first times I assisted Jason, I think it must have been during the summer of my 2nd year. He invited myself, Nik & Pete over to his house to help out with some items he wanted to shoot. We hung out in his garden (complete with hammock) drinking tea and listening to music on a sunny weekend afternoon while Jason photographed flowers for an impending summer festival in London. With no doubt this has to be one of my fondest photography related memories. It was a moment when I realised that ‘work,’ can be enjoyable. Commissions don’t always have to be a huge headache or stressful event. If you have a healthy environment and process to work around, strong work will follow.
© Jason Evans
It’s no coincidence that so many talented artists / creatives speak so highly of Jason and seek his opinion or creative insight on their own projects. I remember visiting Jason at his home a few years ago when he had recently been sent a hand made copy of Taiyo Onorato & Nico Krebs, The Great Unreal. I can’t remember the exact details, but I think he was sent a sneaky peak copy made by the two themselves. I was blown away. You only need to glance at Jason’s list of collaborators or speak to other artists of similar ethos and stature to gain a little perspective on where I’m coming from.
© Alexander Milnes, 2011
Having known Jason since 2007, i have modeled for him, photographed along side him, assisted in his curational endeavours, sought his valued opinion, but more than anything else i have learnt from him. I’m confident that without Jason’s influence and direction i would have taken a completely different path in life. I think one of the most important impressions Jason has instilled upon me and the entire WB team is the desire to contribute something new within the photographic community. It’s an obvious goal and one you would hope most look to realise, but one which is very rarely achieved.
