Kevin Evans is a native Californian, born in San Luis Obispo, and resident of the San Francisco Bay Area since 1985. His chosen mediums are painting, printmaking, sculpture and digital media.
Since 1994, Kevin has worked as an artist in the CGI/computer games industry.
Evans holds a BFA in illustration and painting. A short list of affiliations include: Sanzaru Games, LucasArts, Marvel, Sega, Sony, Activision, Take2, The San Francisco Chronicle, Mondo 2000, The East Bay Express, The San Francisco Bay Guardian and The Sacramento News & Review. In addition to work in the games industry and illustration, Kevin’s artwork has been included in many fine art exhibitions in the United States and abroad. Highlights include Varnish Fine Art and Meridian Gallery in San Francisco, The Kellogg University Art Gallery, University of Wisconsin-Parkside, Arts Council of Sonoma County Gallery, Nicolet College Art Gallery in Wisconsin and Maison d'Ailleurs Museum of Utopia in Switzerland.
In 2009 Evans co-curated with Carrie Galbraith a group show "Kinkade Cannibalized" as the inaugural opening of Winston Smith’s "Grant's Tomb Gallery" in San Francisco.
Kevin Co-authored, Co-edited, Art Directed and was the primary illustrator for “Tales of the San Francisco Cacophony Society”. The book was released in spring 2013 by Last Gasp Publishing and is a retrospective of The San Francisco Cacophony Society, a group of bay area pranksters that fostered the idea of creative exploration that went viral and spread around the world.
Kevin’s artwork has been featured in various publications including “A Lovecraft Retrospective: Artists Inspired by HP Lovecraft”, Centipede Press, and Reader's Guide to the Cthulhu Mythos, Gakken, Japan.
Kevin Evans has been a guest blogger on Laughing Squid.
Fine Art: Artist Statement and Technique
When working, I investigate the interior terrain favoring an existence within a silent emblematic space. I deposit symbols, characters, and texture -following an intuitive voice leading to unanticipated and surprising consequences. The creation first begins as a sequence of visual ramblings in sketchbook. Intermittently, unsystematic rudiments and marks of disorder are introduced; on occasion regions destroyed or erased acting as a reaction trigger. It’s a procedure of embracing an atmosphere of unpredictability and Memento Mori.
When the illustration has attained a condition of termination, it is then transmitted to canvass, panel, or printed in the intaglio method.
Affiliation with the San Francisco Cacophony Society
Years later, Evans relocated to San Francisco in 1985 to attend art school. Eventually, Kevin stumbled upon the Suicide Club’s successor, The Cacophony Society, two years after its founding in 1986. Coincidentally, a classmate and friend from art school, Carrie Galbraith, was involved in Cacophony and Evans was brought into the fold in the summer of 1987.
In 1989, Kevin Evans attended a wind sculpture festival located in Nevada's ethereal Black Rock Desert organized by artists Mel Function and John Bogard of Planet X. Kevin, so impressed by the magnificent locale, began planning a 1990 Labor Day return with Cacophonist John Law, framed as “Zone Trip 4, Bad Day at Black Rock”. That same year, the Burning Man event on Baker Beach in San Francisco had been shut down by local authorities. Evans and Law, in attendance, invited the effigy and its architects to join the cacophonous journey to Nevada.
A sampling of other Cacophony events Evans co-sponsored include the revival of the Suicide Club’s Sewer Tours, Descent into Necropolis (a midnight supernatural literary tour of Oakland’s Mountain View cemetery) and other subterranean explorations.