Evan Lee prints his images on the wrong (unreceptive) side of darkroom photographic paper. Instead of staying put and rendering the usual photographic realism captured by the camera lens, the pigments sit on the paper’s surface like so much pre-mixed paint. Lee then pushes the pigment around with brushes to activate shapes with residual textural marks or blur outlines and subjects into a state of near painterly abstraction. Aside from a noirish reclining image of a woman on a bed that looks at first glance like an Edward Hopper, the subjects are forest-fire landscapes and flash-lit web erotica, subjects that communicate as working metaphors for the newly “hot” or “visceral” surfaces that the process allows. The images are made permanent with an acrylic medium that serves like old-fashioned fixative.
source: canadianart - Richard Rhodes 2010