Cerith Wyn Evans was born in Llanelli, Wales in 1958. He went to London to study Fine Art at Saint Martins School of Art (graduating in 1980), and completed an MA at the Royal College of Art in Film and Video in 1984. After formal eductation he worked principally with the medium of film, and throughout the 1980s his reputation flourished as a flamboyant and complex auteur, who consistently sought out the most brilliant and subversive makers around him, such as 'iconoclastics' Michael Clark, Leigh Bowery and Derek Jarman and collaborations with key, now legendary bands such as The Smiths and The Fall.
Throbbing Gristle and Psychic TV on their videos threw him deeper into a very resonant antiestablishment scene. During the next decade, Wyn Evans opened out to working in a variety of media that included photography, sculpture and installation using materials as varied as neon, fireworks, light fixtures, lanterns, plants, morse code, mirror balls and urine to explore his ideas on the phenomenology of time, language and perception. A decade of explorations marked his quiet consolidation of a considerable international reputation that has seen him flourish as the impeccably dandyish, knowledgeable and immensely respected figure for a cross-generational, international art community.
Wyn Evans has exhibited extensively internationally, including representing his native Wales at the 2003 Venice Biennale, and exhibiting a significant installation at Documenta XI in Kassel in 2002. He made a site-specific exhibition at the house of Luis Barragan in Mexico City in 2003, and at the Palais des Beaux-Arts in Brussels in 2004. His first solo exhibition, 'Inverse. Reverse, Perverse' was with White Cube in London in 1996, a gallery that continues to represent him in the UK, whilst in Europe he works with Daniel Buchholz (Cologne), and Galerie NEU (Berlin).
- 'I Still Love the 0th Century', Georg Kargl Fine Arts, Vienna, Austria, 2006
- Tate Triennial 2006- New British Art, Tate Triennial, London, 2006
- Eaux d'Artifice (after K.A.)' The Conservatory, Barbican Centre, London, 2005
- 'Once a Noun, Now a Verb' Galerie NEU, Berlin
- 'Things Unsaid, Not Forgotten, MIT Visual Arts Centre, Boston, 2004
- 'Meanwhile Across Town', Centrepoint, London, 2004
- 'Cleave 02' Documenta XI, Kassel, 2002
- 'Cleave 00', Art Now, Tate Britain, London, 2000
- Centre for Contemporary Art, Kitayushu, Japan, 1998
- 'How Will We Behave?' Robert Prime, London, 1998
- 'Sensation', Royal Academy of Arts, London, 1997; Hamburger Bahnhof, Berlin, 1998-9
- 'I Take My Desires For Reality Because I Believe in The Reality of My Desires', Deitch Projects, New York, 1997
- 'Life/Live', Musee d'Art Moderne d ela Ville de Paris, 1996
- Solo Exhibition 19-89, ICA Cinematique, London 1989
- 'The New Art'. Tate Gallery, London, 1983
- 'A Certain Sensibility', ICA Cinematique, London, 1981
- Birnbaum, Dabiel; Zaya, Octavio; Musac, Leon, 'Cerith Wyn Evans: Visibleinvisible' Hatje Cantz, March 2008
- Gaenscheimer, Susanne; Nesbitt, Molly; Friedl, Helmut 'Cerith Wyn Evans: In Which Something Happens All Over Again for teh Very First Time' Buchandlung Walther Konig, January 2007
- Ault, Julie 'Cerith Wyn Evans' (Black Pocketbook Series) Lukas & Sternberg, August 2004