“Why did you start making bras?” is a question most asked of Elizabeth Evans. Answer: A party in New York City in the 1980s required women to wear breastplates and men to wear codpieces, and it sparked an interest that she has continued to develop. On their own, the bras are a work of art. Once they are integrated with a background, the piece becomes a story.
In Love Chairs, sweet nothings are written on red plexiglass behind masking tape chairs. A hot pink bra hanging on the chair suggests that it was tossed in the heat of passion. Ginger was made by layering screen to create the art nouveau details of a woman. Hair up in a Gibson girl bun, she seductively stares at the viewer.
The bra in Mother’s Milk is a collage of the Madonna and baby Jesus with symbolic white pearls dripping from one nipple. It mirrors the background of the Virgin Mary breastfeeding her baby with the look of adoration all mothers share.
Working with many different materials enables Evans to keep her work fresh and inventive. Warrior Princess is printed on plexiglas, and Charlotte is carved into cardboard.
Amalia Pizzardi said, “You cannot give Elizabeth Evans’ work an exact name. The idea is to make a simple composition which is easy to read [but has] a stronger ideology behind it. Not an ideology in a political sense, but in thought.”