Four Corners, the title of Liam Everett’s viewing room, refers to the four directions—North / South /
East / West or four points on a stage and the “missing” painting, as there are only three visible in the exhibition. The fourth is always the “not-yet”. Or maybe, it refers to the invisible wall that delineates the frontier between spectators and the spectacle?
For this online viewing room, independent curator Natasha Boas conducted an interview with Liam Everett in the artist’s studio, a former barn located 80 kilometers North of San Francisco in West Sonoma County looking out towards the Pacific Ocean.
Born in 1973 in Rochester, New York, Liam Everett lives and works in Northern California.
Liam Everett’s abstract mixed-media painting and sculpture result from a process of steadfast and repetitious application and erasure, employing non-traditional methods to apply — and caustic substances to remove — painstakingly developed layers of paint and composition. Inspired by the dynamic alchemy of the natural environment in California, this method makes plain the interactive properties of the substances on the canvas — how they counteract, preserve, or react to one another.
Everett works with ideas around everyday objects holding multiple meanings. “I’m interested in the potential for a highly recognizable object to transform itself in such a way that it begins to shed its original utilitarian personae. As soon as these objects are transferred to a two-dimensional surface, there is this kind of tragi-comical transmutation that occurs in which they start to take on alternate connotations.
I think of it as de-evolving, where the object is divorced of its first reality and then inevitably begins to develop new valences, ones that I didn’t anticipate. They often end up looking like sad props culled from the backstage of an agit prop theatre. The intention with this material is not just to repurpose it but to also rearrange the ideas and concepts that I associate with them.”