Is it over now?
The full side of a lorry, suspended within a scaffold structure with carabiners, amber reflectors and found hardware: 8mm chains, towing shackles, nuts and bolts, alongside other miscellaneous found apparatus.
360cmx200cm
2025

What you left behind
Scaffold cladding (from the Mackintosh Building) suspended from 8mm tow chain sling and 3mm chain with found washers
Variable
2025

How to Safely Handle a Curtain- Sided HGV Trailer
Video montage that follows a girl’s personal obsession with curtainsider lorries Displayed on mac, on found stand with headphones
00:02:54
2025

Lilian Evans

Lilian Evans’ sculptural, in-situ installations explore obsessive desire through physical encounters with industrial waste. Working primarily with discarded lorry curtains and found hardware, she manipulates materials into draped, chained, and tensioned formations.
Her practice is driven by desire—unrelenting, obsessive, and edged with lust. Each work stems from a compulsive need to touch, to cut, to possess. She stages these encounters in darkened, often theatrical spaces where control fractures, and the boundaries between dominance, submission, and longing blur into something fevered and unstable. Video and simulation bleed into the work, amplifying the intensity of her obsessions and collapsing the line between fandom and lived experience.
Her materials—once agents of transport and distribution—are refigured as objects of affection, obsession, even worship. Desire in her work is never fulfilled. Every act of making becomes a performance of almosts: almost held, almost loved, almost enough. What remains is not resolution, but residue—a crease, a bruise, a quiet ache.