Garth Evans’ work evades consensus, which is to say, it is rife with juxtapositions: it has been called both constructivist and intuitive, both emotional and formulistic. Its elegant shape and smooth surfaces invite debates of description. In the work False Start, Evans presents us with a mysterious and discrete geometric form, and yet the color choice and expressive brush applications create a sense of warmth. The final work embodies the unique qualities typical of his aesthetic pursuits. Evans work is included in public collections such as the British Museum, London; Brooklyn Museum; Metropolitan Museum of Art, New York; The Henry Moore Foundation, Leeds; Joseph H. Hirshhorn Museum and Sculpture Garden, Washington D.C.; Museum of Contemporary Art, Sydney; National Museum of Modern Art, Brazil; Yale Center for British Art, New Haven; Museum of Modern Art, New York; and Tate, London, among others.