In Jan Paul Evers’ oeuvre, photography as “impression of reality” is subversively dissolved. His pictures neither document nor stage a “reality” that unfolds before the camera’s lens. The starting point is his digital image archive of found motifs and motifs of his own, which are first processed with Photoshop, printed out and then photographed analogously. The decisive moment in Jan Paul Evers’ work process takes place in the darkroom, where the final motif is “worked out” during the factual image formation with templates using analog processing methods such as dodging, masking, post-exposure, or gradation splitting. This “sculptural handling” of photography produces a unique copy instead of a “reproduction” of reality. In this sense, Jan Paul Evers’ works show an “image genesis” in which documentation and abstraction, visible surface and hidden code, past and present collaps into each other. The art historian Florian Ebner aptly writes: “The pleasure taken in the photographic material, a bit of punk and a very precise creative gaze come together in Jan Paul Evers’ work and start dancing.”
Jan Paul Evers (DE 1982) lives and works in Cologne. He just has been awarded with the „Große Hans Purrmann Preis der Stadt Speyer“. His works are part of museum collections such as Museum Folkwang Essen, Kunstpalast Düsseldorf, Fotomuseum Winterthur or The Art Collection of the Federal Estate of Germany. Jan Paul Evers works have been shown in solo exhibitions such as at Villa Stuck, Munich or Kunsthalle Lingen as well as in group exhibitions such as at „Photography to the Test of Abstraction“, Frac Normandie Rouen (FR), „Nullpunkt der Orientierung. Fotografie als Verortung im Raum“, Art Foyer DZ Bank, Frankfurt a. Main, »Germany is no Island. Art Collection of the Federal Estate of Germany”, Bundeskunsthalle Bonn or „Black & White. From Dürer to Eliasson“, Museum Kunstpalast, Düsseldorf.