Since the 1980s, Cerith Wyn Evans’ investigations have focused on light and luminosity, which permeate his work in films and videos, installations and sculptures. With exhibition tactics that highlight the spatial manifestation of impalpable ideas, Wyn Evans’ works bring into play the duration, impermanence and material consistency of art objects. Both his luminous devices, which trace a graphic script in space, and his use of ciphered alphabets such as Morse code reveal an interest in the non-verbal dimensions of language. The artist also employs excerpts from literary works or film subtitles to produce a discursive experience suspended between visual and conceptual registers.

Among the artist’s recent solo exhibitions are Aspen Drift, Aspen Art Museum, Aspen, USA (2021); Being and Neonthingness, Galerie Bucholz, Cologne, Gemany (2020); No realm of  thought… no field of vision, White Cube Gallery, London, UK (2020) e …The illuminating gas, Pirelli HangarBicocca, Milan, Italy (2019). He has also participated in the group shows Diversity United, Tempelhof Airport, Berlin, Germany (2021); Nulla é perdutto. Arte e Materia in Transformazione, Galleria d’Arte Moderna e Contemporanea di Bergamo, Bergamo, Italy (2021); National Gallery of Victoria Triennial, Melbourne, Australia (2020); No Dandy, No Fun, Kunsthalle Bern, Switzerland (2020); That Which is Not Drawn, Marian Goodman Gallery, London, UK (2019) e Memory Palace, White Cube, London, UK (2018).

The artist has works in important public collections, such as Caldic Collection, Rotterdam, Netherlands; EVN, Vienna, Austria; Frankfurter Kunstverein, Frankfurt, Germany; La Coleccíon Jumex, Ecatepec, Mexico; Montblanc Art Collection, Hamburg, Germany Museo de Arte Acarigua-Araure, Caracas, Venezuela; Centre Georges Pompidou, Paris, France; Sandretto Re-Rebaudengo, Torino, Italy; Saatchi Collection, London, UK and Tate Gallery, London, UK; The British Council, London, UK.