Throuhout the span of his career Evans has been intrigued by the artistic possibilities of uninhabited interior spaces. Influenced by the early Dutch and Scandinavian interiors of Vermeer, De Hooch and Hammershøi, as well as American mid-century realist and magic realist works by Hopper and Wyeth, Evans combines a Hitchcock-like fascination with unusual vantage points and telescoping perspective along with the use of open drawers, windows and doors to create open ended and ambiguous narratives which emerge from his psychologically charged spaces. Utilizing primarily the spare interior rooms of his family's 19th century farmhouse, Evans developed a series of drawings and paintings in the mid-1980s and early 1990s which explored this theme. Telltale clues and objects suggest a human presence nearby, but leave viewers with still unanswered questions, drawing them in to forge their own personal narratives and connections. Evans also explores more formal issues in these works as well, experimenting with identical pairs of fully resolved images presented in both black and white and in color, examining how the use of color affects their impact. In addition, influenced by David Hockney’s cubist photo montage series, Evans utilizes a similar approach in several large scale triptychs and diptychs which fracture the perspective slightly from panel to panel, allowing for a panoramic view of the interior space.