THIS YEAR FOR THE FIRST TIME THE FOUNDRY GALLERY WILL BE A PARTNER OF LONDON DESIGN FESTIVAL

For millennia, we have been in awe of the fundamental laws of nature, seeking out patterns and symmetries from microscopic particles to the greater universe.  Geometry and symmetry appear to govern the world around us with an underlying mathematical order resulting in the formation of simple and complex shapes and patterns. There is a long aesthetic tradition of nature inspiring and being represented in human civilisation, the ancient Greeks studied natural forms abstracting them as simple geometrical shapes in which to construct their temples and shrines. In the mid 1800’s Joseph Paxton’s design for the Victorian mega-structure ‘The Crystal Palace’ originated from the vein structures of the giant lily pad ‘Victoria Amazonica’ and was constructed from a pioneering modular steel structure. A century later the architect Buckminster- Fuller’s radical futuristic geodesic domes were derived from honeycomb with interlocking triangular pieces. Modular in construction the flexible frames could be replicated and built quickly; enlarged or reduced in scale to suit countless prerequisites.

It is from researching these realised and theoretical propositions in architecture, urban planning and biosciences that the artist ALEX EVANS has created an evolving series of obsessively hand-drawn original works and prints composed of geometric shapes and complex patterns where the shapes appear to replicate themselves and sometimes go on to transform in scale.  His complex mathematical drawings depict imagined cities like hybrid architectural forms and delicate emergent bio-organisms.  

The cities I imagine through drawing exist neither in the past or the future. They are not solutions to urban problems but a pen and paper utopia where the excess of the city pushes against mathematics of nature
— ALEX EVANS