Evans’ practice is rooted in obsession. Desire is her methodology – restless, uncontainable. She works with industrial remnants – lorry curtains, scaffold cladding, discarded hardware – materials already saturated with histories of labour, consumption, and circulation. These surfaces are not neutral: they are scarred, seductive, and often overpowering in scale and resistance. She approaches them with compulsion. Cutting, chaining, draping, she forces them into place, only to find herself dominated in return. This negotiation – between Evans and the material, between wanting and possessing – is where the work resides. Sculptures and installations become rehearsals of power, lust, and surrender, staging encounters that are both monumental and intimate. Parallel to this, she works in moving image, sound, and text, where the same obsessions leak out in other forms. Video montage, field recording, and poetry articulate desire with a manic, frenzied rhythm that mirrors the compulsive nature of the work itself. Pieces such as How to Safely Handle a Curtain-Sided HGV Trailer expose the parasocial, unhinged qualities of these fixations, folding them into narrative fragments that blur confession with performance. At its core, Evans’ practice is desire made manifest: obsessive, unstable, and unresolved. It asks audiences not for answers but for encounters — to be seduced, and implicated in the intensity of wanting.