Unedited conversations between artist in a productive critique  discovering  thesis and processes behind the work.








Conversation between Evan Robarts and Olivia Ramos.


Evan Robarts

Lost in Space II, 2015

Fiberglass-reinforced plaster on linoleum mounted to wood panel.

72 x 96 in.

RAMOS:  ‪Hi Evan




‪Thank you for joining me


‪of course


thanks for having me


‪congratulations on your show


how has it been?


thanks, it's been going well so far and i feel good about the work


but im prob the wrong person to ask for a objective opinion on that :)






well i think the work is really beautiful


‪it was fun‬‬


yeah it seems fun and personal‬‬


‪it is‬‬


this is the first time I am exposed to Arte Povera‬‬




‪there's something really powerful there‬‬




why do you laugh?


it's got a lot of history but yea, i don't really know too many of my peers that are interested in it


at least not here in the States


‪I think it makes a lot of sense‬‬


you read the press release then‬‬


that's cool


yes I did... and thought of all the back stories in producing art and what we have to do to maintain ourselves


hardly gets talked about


so true‬‬


‪it's nice to see it in the work, embedding pride in the beauty of the struggle it takes to do the work


That is the identification to Arte Povera


not just in the materials but the humility of work


how that informs us and is hence channeled into a studio practice


‪humility has everything to do with it and also a sense of gratitude


grateful for who we are and what we do


‪yes. they go hand in hand. i try to practice both but often forget


my work is the reminder‬‬


but yea


that's why it's personal


at least psychologically


to me


I can't validate others respectively


yes - i read in the text that you've mopped floors before, so this is legitimate


and you've made it so beautiful as if only if one has had such experience



Evan Robarts

Untitled, 2015

Fiberglass-reinforced plaster on linoleum mounted to wood panel.

48 x 60 in.



it makes me think of other art practices that likewise take this on


music for example, we hear a lot of musicians talk about what they had to go through, the struggle, illegal activity etc.


So true. I'm not a musical person (I don't know how to play any instruments) but I definitely identify with that.


Coming form Miami I have a strong connection to aesthetics, particularly design, color and composition.‬‬




what's curious to me is the nostalgic nature


the musicians for example, once the music gets heard, they are no longer struggling


how is that for you?


are you still creating new experiences with labor?


I agree, I can imagine a composer hears a string of notes and "works" to capture their form. In the same respect. I think all artists chase these visions.


My work is self referential in a literal way. I lean on my own "life experience" but don't think I would relive it or do it all over again.


My experience mopping was not pleasant but yes labor, gentrification and history are some of the key ideas I entertain in my work.


To be more specific, I focus on what's familiar, being a superintendent‬‬


‪so what happens when you stop making these memories through experiences?


you make art about other stuff of course... do you ever turn to the future?


‪I'm jamming out to Kayla Delacerda's video To Capitalist Poem #5 on your website


great question


My work does not live in the past  but informed by it. The politics of my work deal with the hear and now. My context as an artist in his early 30's, the city I live in "Brooklyn" and what it means to be an artist.


‪I don't turn to the future because I want to focus on the current events that will sculpt it‬‬




so what happens when you only produce art? or do you always have to do something on the side?


to sort of inform the work


to have an experience away from producing - is that even necessary?


My stance is that art should be socially relevant, it should speak and be of service. No one would listen to me if I wrote a book or ran in the elections


art is a microphone for dialogue


‪To answer your question exactly‬‬


Yes, I always have to do something on the side to inform my work. I believe it gives a studio practice content with a capital "C".




how else can you be of service otherwise? if you don't, at least, have a practice of observation


away from production


art is an opportunity for awareness of things beyond art


Agreed. I've come to see it as a means to detach from production in order to reach my goal faster, if that makes sense...


I'm not always in my studio. I have to work and it actually helps me make better work


Otherwise I would be producing a lot of work I probably wouldn't be so stoked on just to fill a space


‪right - art for the sake of art


i'm sure that can be justified as well


but i enjoy the servitude, humility, and gratitude, in your work


‪it's a chance to say something but what I was trying to impress is that I believe it actually helps me make better work too. it's a win win scenario. I can practice a positive ethical lifestyle and - weird enough, it loops back into my work


ultimately, having a studio practice is such a luxury


It's something that should be justified at the end


so the ethical and moral overhead in my opinion is pretty high