In his series Collection Munich – Italy, Christian Evers turns his attention to the iconic buildings and sculptures of two cultural spheres that have embodied artistic excellence for centuries. Yet rather than merely depicting them, he reinvents them — dynamic, vibrant, and infused with a unique aesthetic that merges traditional painting with the expressive qualities of Japanese ink art and the narrative power of comic illustration.
His works are not simple documentations of architectural achievement, but subjective reinterpretations that breathe movement into the static monumentality of stone structures. Light and shadow play an essential role: they connect the main motif with its surroundings and create a sense of depth that invites viewers into dialogue with the work. Despite their clear structures, his compositions retain deliberate voids and ambiguities — spaces left open for personal associations.
Between Past and Present – A Homage to the Artists of Earlier Epochs
Evers’ series pays tribute to those painters, architects, and sculptors who, through unparalleled craftsmanship, created monuments that continue to radiate far beyond their own time. In an age when everything seems available at the push of a button — when concepts like quality, value, and diligence increasingly dissolve in a world of rapid consumption — the artist seeks to restore a sense of wonder and appreciation for these masterworks.
His focus is not limited to the visible — forms, structures, and perspectives — but extends to the invisible: the spirit of the creators, their intentions, and their pursuit of perfection. In his drawings, Evers delves deep into the mindset of the sculptors of the past, imagining how they shaped their figures, how they worked the material to give stone a near-breathing vitality. What did the artist wish to express then? How did he imbue his sculpture with presence, as if to liberate it from the material and breathe a soul into it?
The Divine in Stone – Mysticism and Myth in Architecture
Many of the depicted monuments are not only architectural or artistic masterpieces but also vessels of a deeper, almost transcendent expression. The buildings and sculptures of past epochs were often more than mere demonstrations of skill — they conveyed a sense of the divine, the otherworldly. Artists of that time created works that inspired awe, transferring power, spirituality, and the ineffable into the realm of the tangible.
Evers takes up this aspect and amplifies it through his painterly interpretation. With his expressive style, he transforms rigid forms into dynamic scenes oscillating between reality and vision. His illustrations dissolve the physical weight of the architecture, shifting perspectives and atmospheres to open new pathways of perception.
Between Reality and Interpretation – The Illustrator’s Freedom
As an illustrator, Evers allows himself the freedom to go beyond mere depiction. He alters perspectives, plays with light, contrast, and composition to offer viewers a renewed vision of the familiar. Through his line, the massive buildings seem lighter, more transparent, almost dematerialized — and yet the original spirit of the works remains intact.
At the same time, he continues the pursuit of the ancient sculptors: while they sought to make their figures as lifelike as possible, Evers uses the tools of drawing to heighten that sense of vitality. By transcending the limits of solid material and loosening the rigidity of monumental architecture through expressive linework, he creates a new atmospheric reality — one that invites not just observation, but experience.
