Eversley is best-known for his slick, often brightly hued curved sculptures, which he produces in various mediums, including resin, plastic, cast polyester, stainless steel, and bronze. They have an air of ease about them, and are directly informed by Eversley’s deep knowledge of science and technology. After graduating with a degree in electrical engineering from what is now Carnegie Mellon University, Eversley moved to the L.A. beach town of Venice in the 1960s and pursued work as an engineer, collaborating with NASA and aerospace companies in the area. He soon retired from that profession at the age of 25, and began pursuing an art career that was influenced by physics and other sciences. In 1977, he became the first artist-in-residence at the Smithsonian Institution’s Air and Space Museum.
Eversley’s work is currently on view at the Brooklyn Museum in “Soul of a Nation: Art in the Age of Black Power,” which will travel to the Broad in Los Angeles next year, and in “Space Shifters” at the Hayward Gallery in London. A traveling survey of his work, “Black, White, Gray,” made stops at Art+Practice in L.A.’s Leimert Park neighborhood and at Brandeis University’s Rose Art Museum in Waltham, Massachusetts.
“To be able to work with such a foundational and singular figure in L.A.’s art history is a tremendous honor,” gallerist David Kordansky told ARTnews in an email. “Equal parts art and science, Fred’s work—with a horizonless approach to the fundamental pleasures of perception—embodies the universal promise of Southern California: its light and space and its radical free-thinking.”