Gestures in Evereson’s style, which could be described as anti-aesthetic, are often minimalistic. He has often gone on the record stating that he is endeavouring toward abstraction, as an ideal and a sort of an end game. His films are all about form, about the brushstroke, and about the necessary image that is being wrought. The notion of politics in his cinema seems insignificant, and he would also not share an affinity for totalising notions of representation in his grand project. It is hard to describe his films as “documentary”; rather, they are collaborative, offertory. Their value lies in the personal relationships that he crafts with his figures. His responsibility lies with them and the ethical bond that is formed between them. Perhaps it is these invisible bonds that structure the genome of his art.

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