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## Tour
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### Title
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### Multiline Text
HTMLText_062AD830_1140_E215_41B0_321699661E7F.html = Welcome to EVOKE Contemporary’s Virtual Visit
This immersive and interactive experience allows you to stay connected and provides an escape with art - anywhere, on any device, anytime. Transport yourself to EVOKE Contemporary to view latest works by our artists.
* Virtual Visit will be available for all of our upcoming exhibitions.
How to navigate:
This info window can always be opened by clicking the (i) icon below/right.
The tour will automatically move through the galleries. Take control of the tour at anytime by left clicking (swipe in mobile) and moving your mouse around the space.
Click on any artwork to obtain relevant information and an inquiry link.
To move between galleries, click on pulsating arrows in the pathways.
Music can be adjusted on your device or at the menu icon located at top/right.
We would love receive feedback from you on your experience and thoughts on our new platform via email or call us at 505.995.9902. Although the gallery is currently not open to visitors, we are available 10am — 5pm daily and eager to assist you.
Please share Virtual Visit with your friends and thank you for dropping by!
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LOREM IPSUM
DOLOR SIT AMET
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LOREM IPSUM
DOLOR SIT AMET
JOHN DOE
LICENSED REAL ESTATE SALESPERSON
Tlf.: +11 111 111 111
jhondoe@realestate.com
www.loremipsum.com
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JOHN DOE
LICENSED REAL ESTATE SALESPERSON
Tlf.: +11 111 111 111
jhondoe@realestate.com
www.loremipsum.com
Mauris aliquet neque quis libero consequat vestibulum. Donec lacinia consequat dolor viverra sagittis. Praesent consequat porttitor risus, eu condimentum nunc. Proin et velit ac sapien luctus efficitur egestas ac augue. Nunc dictum, augue eget eleifend interdum, quam libero imperdiet lectus, vel scelerisque turpis lectus vel ligula. Duis a porta sem. Maecenas sollicitudin nunc id risus fringilla, a pharetra orci iaculis. Aliquam turpis ligula, tincidunt sit amet consequat ac, imperdiet non dolor.
Welcome to EVOKE Contemporary’s Virtual Visit
This immersive and interactive experience allows you to stay connected and provides an escape with art - anywhere, on any device, anytime. Transport yourself to EVOKE Contemporary to view latest works by our artists.
* Virtual Visit will be available for all of our upcoming exhibitions.
How to navigate:
This info window can always be opened by clicking the (i) icon below/right.
The tour will automatically move through the galleries. Take control of the tour at anytime by left clicking (swipe in mobile) and moving your mouse around the space.
Click on any artwork to obtain relevant information and an inquiry link.
To move between galleries, click on pulsating arrows in the pathways.
Music can be adjusted on your device or at the menu icon located at top/right.
We would love receive feedback from you on your experience and thoughts on our new platform via email or call us at 505.995.9902. Although the gallery is currently not open to visitors, we are available 10am — 5pm daily and eager to assist you.
Please share Virtual Visit with your friends and thank you for dropping by!
Christopher Benson
I make pictures of a lot of different things. Sometimes I paint seascapes, sometimes landscapes or street scenes. Occasionally, I set figures in interiors or other architectural spaces. Some of these pictures are taken from things I saw directly. Others are conjured from memory, or from an accumulated compendium of internalized views.
But whether literally representational or imagined, I mean for all of my pictures to invite the viewer in with a sense of the familiar, while yet distilling some essential character of the subject that may feel surprising or even a bit odd. I find that I can achieve this by stripping out a great deal of extraneous detail in order to get to the boiled-down, or even abstract heart of a picture.
Beyond all those formal concerns and matters of content, what interests me most is paint itself: how it lies, stands or races across the surface of the canvas. I've said to a couple of friends recently that "I want to make de Koonings and hide them inside of Homers". Not that I mean to imitate either of those artists — I just like to conceal the physically powerful wolf of abstraction within the sheep's clothing of a more seemingly conventional realism. You feel that you know it, or have seen it before a thousand times. But then you spend some time with it and realize that you don't know it at all.
A kind of deliberate brusqueness is the crucial agent of my mark-making, which is intentionally raw and roughly drawn. I have lost any interest in carefully rendering the minutia of fine detail, if indeed I ever had it to begin with. Large descriptive shapes, made with a loaded brush and moved by the whole arm, are what I'm after. The sense of atmosphere and emotion that those big gestures can convey is what I live for.
— Christopher Benson
Christopher Benson
I make pictures of a lot of different things. Sometimes I paint seascapes, sometimes landscapes or street scenes. Occasionally, I set figures in interiors or other architectural spaces. Some of these pictures are taken from things I saw directly. Others are conjured from memory, or from an accumulated compendium of internalized views.
But whether literally representational or imagined, I mean for all of my pictures to invite the viewer in with a sense of the familiar, while yet distilling some essential character of the subject that may feel surprising or even a bit odd. I find that I can achieve this by stripping out a great deal of extraneous detail in order to get to the boiled-down, or even abstract heart of a picture.
Beyond all those formal concerns and matters of content, what interests me most is paint itself: how it lies, stands or races across the surface of the canvas. I've said to a couple of friends recently that "I want to make de Koonings and hide them inside of Homers". Not that I mean to imitate either of those artists — I just like to conceal the physically powerful wolf of abstraction within the sheep's clothing of a more seemingly conventional realism. You feel that you know it, or have seen it before a thousand times. But then you spend some time with it and realize that you don't know it at all.
A kind of deliberate brusqueness is the crucial agent of my mark-making, which is intentionally raw and roughly drawn. I have lost any interest in carefully rendering the minutia of fine detail, if indeed I ever had it to begin with. Large descriptive shapes, made with a loaded brush and moved by the whole arm, are what I'm after. The sense of atmosphere and emotion that those big gestures can convey is what I live for.
— Christopher Benson
Lee Price
American Contemporary Figurative Realist painter Lee Price focuses on the subject of food with the solitary female figure in private, intimate settings — figures that are always lost in what might appear to be the bliss of consumption in highly unusual environments and portrayed from a unique aerial point of view. This odd perspective creates an illusion or feeling of an out of body experience as if the subject is looking down at herself. While clearly demonstrating her amazing technical skills, the circumstance of consistently depicting female figures in the act of compulsive behavior tends to hint at an underlying message.
Lee Price grew up in a small town in upstate New York, her mother was a high school art teacher, and her father left home when she and her two sisters were very young. As a result, Lee was raised in a household of women. She suspects that this may have had some impact on her work. As a Graduate of Moore College of Art of Philadelphia, Lee Price proved her amazing talent for painting. Early in her career Lee established a pattern of painting intimate moments of a woman’s life with a very realistic tone. Continuing her artistic development, she studied with the Bo Bartlett Art Students League, and had several years of private studies with Alyssa Monks through the New York Academy of Art. She relocated to California for eleven years, but has since returned to her home state, where she resides to this date.
Lee Price
American Contemporary Figurative Realist painter Lee Price focuses on the subject of food with the solitary female figure in private, intimate settings — figures that are always lost in what might appear to be the bliss of consumption in highly unusual environments and portrayed from a unique aerial point of view. This odd perspective creates an illusion or feeling of an out of body experience as if the subject is looking down at herself. While clearly demonstrating her amazing technical skills, the circumstance of consistently depicting female figures in the act of compulsive behavior tends to hint at an underlying message.
Lee Price grew up in a small town in upstate New York, her mother was a high school art teacher, and her father left home when she and her two sisters were very young. As a result, Lee was raised in a household of women. She suspects that this may have had some impact on her work. As a Graduate of Moore College of Art of Philadelphia, Lee Price proved her amazing talent for painting. Early in her career Lee established a pattern of painting intimate moments of a woman’s life with a very realistic tone. Continuing her artistic development, she studied with the Bo Bartlett Art Students League, and had several years of private studies with Alyssa Monks through the New York Academy of Art. She relocated to California for eleven years, but has since returned to her home state, where she resides to this date.
Thomas Paquette
Veritas Caput
oil on linen, 48" x 36"
Jeremy Mann
Oblivia Ferma
oil on panel, 48" x 48"
Francis Di Fronzo
The Last Chance
oil over watercolor and gouache on panel, 32" X 49"
Jeremy mann
NYC42
oil on panel, 48" x 48"
Lee price
Ali's meal
oil on linen, 44" x 33"
Click for inquiry
Kent Williams
Convergence Yumi
oil on linen, 50" x 50"
Jeremy mann
Below the Veil
oil on panel, 36" x 36"
Kent Williams
Plate Glass Window: Typhoon
oil on linen, 24" × 24"
Francis Di Fronzo
Long Ago
oil over watercolor and gouache on panel, 19" X 38"
Kent Williams
Native Bone: Heart
oil on linen, 24" x 20"
Thomas Paquette
Distant Arc of I-280
oil on linen, 34" x 42"
Thomas Paquette
Distant Arc of I-280 - small
oil on linen, 14" x 16"
Thomas Paquette
Wandering Waters
oil on linen, 32" x 22"
Kristine poole
In My Dreams I Can Fly
fired clay, 38" x 17" x 21"
Thomas Paquette
Top of the Peninsula Sky
oil on linen, 38" x 54"
Kristine poole
Quintessence
bronze, ed of 11, 12" x 12" x 4"
Francis Di Fronzo
The Sleepers Dark, Part 4
oil over watercolor and gouache on panel, 24" X 49"
Christopher Benson
Big Sky
oil on linen, 12" x 14"
Francis Di Fronzo
Long Ago
oil over watercolor and gouache on panel, 19" X 38"
Jeremy Mann
Oblivia Ferma
oil on panel, 48" x 48"
Jeremy Mann
Oblivia Ferma
oil on panel, 48" x 48"
Jeremy Mann
Below the Veil
oil on panel, 36" x 36"
Jeremy Mann
NYC42
oil on panel, 48" x 48"
Jeremy Mann
The Last Chance
oil over watercolor and gouache on panel, 32" X 49"
Christopher Benson
The Basin
oil on linen, 54" x 54"
Lee price
Cupcakes
oil on linen, 65" x 25"
Lee Price
Ali's meal
oil on linen, 44" x 33"
Christopher Benson
Anti Social Media
oil on linen, 50" x 44"
Jeremy Mann
Below the Veil
oil on panel, 36" x 36"
Lee Price
Ali's meal
oil on linen, 44" x 33"
Lee Price
Self Portrait with Parfait in Floral Room
oil on linen, 45" x 31"
Christopher Benson
The Falcon
oil on linen, 54" x 54"
Lee Price
Cupcakes
oil on linen, 65" x 25"
Ester Curini
I Was Wild. They Named Me OR 4
acrylic on linen, 72" x 48"
Michael Scott
Old Growth Forest
oil on canvas, 72" x 102"
Francis Di Fronzo
Long Ago
oil over watercolor and gouache on panel, 19" X 38"
Christopher Benson
Big Sky
oil on linen, 12" x 14"
Francis Di Fronzo
The Last Chance
oil over watercolor and gouache on panel, 32" X 49"
Ester Curini
Guardando ad Est
acrylic on linen, 36" x 60"
Javier Marín
Maqueta reflejo VII
bronze and resin, 28 x 10.25 x 52 high (edition 8 of 8)
base, 32.5 x 19.5 x 31.5 high, (edition 8 of 8)
Jeremy Mann
Portrait Study 27
oil on panel, 6" x 6"
Jeremy Mann
Portrait Study 32
oil on panel, 6" x 6"
Jeremy Mann
Portrait Study 33
oil on panel, 6" x 6"
Francis Di Fronzo
Last Light, Part 7
oil over watercolor and gouache on panel, 24" X 32"