André Evard had already been exploring how to incorporate abstract forms into his works since 1913. With his art, he aims to break new ground and deliberately strives for geometric painting with clear, systematic compositions. Since then, Evard has predominantly conceived his paintings in two planes: a lifelike foreground and an abstract background, which is nevertheless based on forms from the material world. Evard only takes a step further later with his constructivist-concrete art, in which he no longer derives forms from objects, but completely recreates non-representational forms.
“Like others in the 1920s, I was a man of my time, of the present. My non-representational painting at that time was thoroughly mechanical. It was made with the compass, the ruler, and the slide rule. The color also obeys relentless rigor. There are color laws – whether they are applied unconsciously or scientifically by the painter, they exist (…). The most important things are always the composition, the geometry, the volume, and the proportions.”
