Nick Evans @ Tramway, until 31 March

Nick Evans takes on Tramway 2 with panache in this ambitious exhibition of new sculpture. It’s an astounding show that ticks every box, from exciting content to innovative construction, pleasing visuals and good old-fashioned showmanship.

Entering the space, a number of unexpected features wreak havoc with the emotions, beginning with an ominous and disconcerting black tunnel, which funnels through to the cavernous main area. In a surprising contrast, reaching the other side is like stepping into an abstract and surreal fairground. The effect is an uncontrollably childish elation, as decoration takes you on an exhilarating roller-coaster ride.

In amongst a cleverly constructed set are ten new plaster sculptures that will be familiar to fans of Evans’ previous work. These bulbous forms seem to be jiving to a rhythm that emanates silently from vibrantly patterned walls. One spins atop a pedestal while another heads up a stage like the circus-master. Heavy materials achieve effortless movement as each individual piece embraces its surroundings, exuding all the energy of living beings.

Refusing to escape notice are the epic, Mayan-inspired fortress walls through which we passed on entry. Two courtyards within the imposing structure house overwhelmingly coloured, relentlessly patterned rooms. More sculptures are popping moves on low plinths resembling a dance floor and the absurdity of it all is tinged with humour.

Yet there is something about the enormity of the walls; their deep black, the way they enclose the space and their subliminal repetition. Steadfastly they dominate, but are missing from the list of works as if they really had been there for centuries. It is uneasy; the mysterious ancient symbolism and that unnerving eye, right in the middle of it all. [Emma Ewan]