Angelo Evelyn

In 1985, Evelyn moved from Paris to Aachen, Germany, a provincial town close to the Belgian and Dutch border, where he was able to rent a large studio. In the same year, he had an exhibition at the gallery of Radio Omroep Zuid in Maastricht (The Netherlands).[9] During the next year, he exhibited "in the Suermondt-Ludwig Museum"< and had an important solo exhibition in the "Neuer Aachener Kunstverein", both in Aachen, Germany.[9] In that year, he was also artist-in-residence at the Frans Masereel Centre in Kasterlee (Belgium).[10]

During this period, he sought to reach perfection as a printmaker by taking part in advanced courses in printmaking at the Frans-Masereel Centrum and in other advanced courses, offered by the Czech artist Rudolf Broulim at the RHok (Royal Academy of Arts) Brussels,[11] where he also had a solo exhibition.[12]

In 1987, Evelyn was commissioned to do the stage decor for a performance by Tone Brulin's company at the Studio Theater in Trondheim (Norway). The work Evelyn was commissioned to do by Tone Brulin was for Brulin's play Turandot.[13] It was noteworthy that an avant-garde artist like Tone Brulin would choose Angelo Evelyn for the job.[14]

In 1988, Evelyn moved to Trondheim. Apparently, this was because Evelyn's Dutch wife Annie who had worked as an actress with the Cirque de Soleil, and who had performed in Brulin's Turandot, had obtained a job teaching Commedia dell'arte at the University of Trondheim (now the Norwegian University of Science and Technology) in 1987. The two rented a farm house in Leinstrand (or Trøndelag?) near Trondheim, where he established his new studio.[15] The years in Norway are marked by seascapes inspired not only by the sea as such. They also comprised ecological themes that echoed his awareness of the Norwegian whaling industry and the industrial traces of the North Sea oil boom. Others were apparently tracing memories of tales heard about his father who was a captain in the Canadian navy during the war, in command of one of those ships that protected freighters on their way from North America to Murmansk.[16]

In both 1988 and 1989, Evelyn participated in the annual Høstutstilling, or Statens Kunstutstilling[17] at the no:Kunstnernes Hus or Artists House in Oslo, Norway which is described as the "viktigste" (most important) art exhibition in that country. He also received a large grant or stipend from the Norwegian government in 1989. In this year he had also solo exhibitions in Stavanger and in Molde (both in Norway).[18]

While in Norway, Evelyn returned to Germany frequently to organize his exhibitions, among them the big exhibition in Bremen (Lilienthal) entitled "Bilder aus Norwegen und vom Kontinent" (Paintings from Norway and the Continent).[16]

He finally moved from Trondheim to the Rotterdam area in 1993. In the Netherlands, he had difficulties initially to find an appropriate studio, and got involved instead in a Hilversum artist cooperative, the Grafisch Atelier t'Gooi.[19]

In the same year, he had two solo exhibitions in Canada.[20] And the next year, a group exhibition in the RHoK Art Academy in Brussels, together with two other artists, Niek Satijn and Erik Fliek, that was also shown in Hilversum.[21]

In 1998, Evelyn founded an international print workshop (the Lithografie Werkstatt Eichstaett)[22] together with two other artists, Li Portenlaenger and Armin Nischk.[23] Simultaneously, the three artists staged the event "200 Jahre Lithographie" in public space and the university as well as in the cathedral Notre Dame de Sacre Coeur in Eichstaett (from July 26 to Aug. 18, 1998).[24]

In the same year (1998), he also obtained an M.A. in print-making from the Wimbledon School of Art (Wimbledon College of Art, Wimbledon nr. London, England).[25]

In September 2005, Evelyn had a joint exhibition in the Atelier Circulaire in Montreal together with the Canadian artist Ana Francine Béland.[26] In 2005–2006, Angelo Evelyn and two other artists, Li Portenlänger and Luc Piron, as well as a poet based in Aachen, cooperated on a joint project to artistically reflect the anti-war essence and physical as well as aesthetic reality of a large ensemble of bigger-than-lifesize sculptures embedded in the Jurassic landscape near Eichstätt.[27] The ensemble of sculptures, known locally as the Figurenfeld (field of figures) was created by the sculptor A. Wünsche-Mitterecker, as an early example of land art. It represented a post-battle scene of slaughter and horrid death. The theme was treated in the form of large lithographic prints by Evelyn.[28]

In 2006, Evelyn took part in the Exposition d'Estampes "Voir Grand 2006" which featured very large prints by Canadian printmakers.[29]

In 2005–2008, Evelyn was one of the artists from Quebec ("Artistes du Québec") participating in the Rencontre Panaméricaine de gravure sur bois.[30]

On Nov. 24, 2008, the Donaukurier featured both Evelyn and his artist colleague Wolfgang Schmitz, discussing their exhibition. This daily has repeatedly focused on Evelyn, most recently in Feb. 2014, when the Donaukurier interviewed Evelyn.[31] An official Eichstaett county (Landkreis Eichstatt) publication refers to him as "this globally renowned artist" ("diesen weltbekannten Künstler").[32]

It was also in 2008 that Evelyn was artist in residence in Val-David, Quebec, Canada, creating lithographic prints at the Atelier de l'Île de Val-David.[33] He also had a solo exhibition in the Atelier de l'Île in that year. And in the following year, 2009, the artist had a solo exhibition in the context of a multi-disciplinary encounter, "Incontri con la paleontologia, V edizione: Vacanze Eco-Educative [...]" in the Auditorium Giovanni Paolo II, Seminario Arcivescovile de Benevento, Benevento (Italy). In Benevento (near Naples), he presented 22 lithographic works, among them works he had created during his stay as artist in residence in Val David, Canada, a year earlier.[34] He presented 22 lithographic prints on this occasion.[35]

Among more recent international art exhibitions that Evelyn was invited to take part in, the following may be mentioned: In 2012, Evelyn was invited to participate in the Second European Lithography Days, Munich (Germany).[36] In 2013 Evelyn took part in the group exhibition Blue Genes. Bilder zu einer Schnittstelle von Wissenschaft und Kunst (Blue Genes. Images relating to an interface of science and art, with Christine Burlon, David Clarkson, Soheyla B. Fahimi, and others.[37] And in 2015, Evelyn took part in the 5e exposition internationale Bisannuelle D'Estampes Miniatures / Fifth International Miniature Print Biennale Exhibition organized by the Ottawa School of Art/'École d'art d'Ottawa. It is described as an "exposition d'une grande qualité". Angelo Evelyn showed his work "4 Head Aches".[38]