Art in the Making | Group Exhibition

ART IN THE MAKING

A Group Exhibition

Art in the Making

Art in the Making is a group exhibition of a selection of 60 artist-essayists who contributed to the new book Art in the Making: Essays by Artists about What They Do.

Showcasing a wide diversity of art and craft, Art in the Making is an exhibition (and book) based on the conviction that there is no right or best or most important way to make art. Fine arts are no longer limited to painting and sculpture, as they were for so long. Living in an age in which handmade things are vanishingly rare, the co-publishers of the book, The Fisher Press and The John Stevens Shop, have chosen to add to the description of fine art any practice done by hand with care and mastery. What is considered art today therefore includes a far wider range of thoughtfully made things, from ceramics and furniture to musical instruments, handmade books, handmade knives, clothing—even cooking. It is no longer the tool that qualifies any given practice as an art, but the skill and understanding of the person who wields it.

The aim in assembling this collection of artists’ essays in Art in the Making—and the artists’ art in the exhibition—is to offer the reader and the viewing public, an entirely different perspective: one not so dependent on the interpretation of outside commentators, but one that instead would directly present the unfiltered ideas, methodologies, and creative drives of the artists themselves.

Included in the exhibition are paintings, sculpture, ceramics, furniture, photography, conceptual art, handcrafted knives, a quilt, a musical instrument, and artist essays associated with each artwork.

John Benson

“Why does a modern young man practice the exacting, antique art of carving rocks? At thirty-six, Benson does it for love, money, and the ‘the old pleasure center—the sexual rush’ that comes with creating or contemplating something of rare beauty. He is quite serious about the Pleasure Center Principle, citing neurologists who say that both aesthetic excitement and sensual feeling occur in the same part of the human brain. He also quotes Veronese: ‘Given a large canvas, I enriched it as I saw fit.’”

Excerpt from interview with Johh E. Benson by Quest77 Magazine four decades ago.

— John E. Benson (b.1939)

John Benson, Woman in Surf, bronze, 7” x 15” x 3”

$18,000

William Benson

My primary reason for pursuing knifemaking was to make Balisongs. These knives are unique in their ability to be manipulated with extreme precision and timing, allowing the user to display an array of flashy acrobatic tricks. Originally developed as a simple utilitarian implement, the Balisong has evolved into a precision-made instrument geared not just for cutting, but for mechanical performance.

Being able to take an ancient design and make a new version of it using modern materials and equipment is one of my favorite aspects of the craft. I will forever look to the past for inspiration to fuel my work. There is a vast wealth of knowledge to be gained from tool and weapon designs of eras long past. Particularly from periods in which bladed tools were significantly more necessary for human survival. It is easy to forget in the modern age how endlessly useful something as simple as a cutting device can be.

— William Benson (b.1997)

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

William Benson, Kiridashi, stainless steel, micarda, kydex, leather, 4” x 7” $650

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

William Benson, Weehawk Planarian, stainless steel and titanium, 1” x 6” (closed), 1” x 10” (open) $2,000

Stephen Faulk

In the seventh or eighth grade I took Home Economics; I think I was the only boy in the class that year. We sewed clothes from the ground up, using a pattern and a dressmaker’s mannequin. The mannequin…illustrated how seams, lines, cuts, hems and zippers could express the pure sculptural volume of clothing and it became deeply rooted in my makers consciousness.

The teacher gave us basic sewing instruction, but I’m sure I learned the needling details from my mom, who’s like the Susan Scissor Hands of the Singer sewing machine.

I learned to handle tools by watching my mom speak the maker’s language at the sewing machine — seeing her move the fabric deftly with her left hand, while she snipped like a laser-beam with the scissors in her right.

People who are ‘makers of things’ usually seem to have a talent for identifying and holding those kinds of foundational memories; maybe even from ancestors they’ve never met.

— Stephen Faulk (b.1963)

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

Stephen Faulk, Romanian Fish, Hinoki wood, fishing net float, wire $1,200

Practicing craft that exists in so many forms, all of which are connected by a common methodoligical thread, and all under threat of extinction form technological change and globalization, is a weight that I do not carry lightly. I feel driven to produce finely crafted work in an aesthetic sense, but also to preserve the skills and traditions of such a noble craft, and to be able to pass them on to the next generation of young blacksmiths.

—Caleb Kullman (b. 1971)

Caleb Kullman

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

Caleb Kullman, Reclaimed Rail Bench, relcaimed vintage railroad rail, sandstone, 60” x 29.5” x 24” $8,500

Mark Luzio

If I ever publish a book, I would (dedicate it) to my father who taught me to not just build, but build “As good as I can.”

I learned my trade from reading books and working in various custom milling shops in New York City. I finally bought a property just across the border into Connecticut and built a 2,000 square foot work space with sixteen-foot ceilings and skylights.

I walk the sixty feet from my house with forty years of skills in my pocket, knowing that my machines, my many antique hand tools, and the current project will all be untouched since yesterday’s work concluded. I have my library of about one hundred books on the history of furniture design and architecture. I have my ideas. On a good day, I get to pick up a Spier’s rosewood infill panel plane made in Scotland almost two hundred years ago (I am the fourth owner) and finish a tapered table leg “as good as I can.”

— Mark Luzio (b.1955)

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

Mark Luzio, Jewelry Box, Macasser Ebony and holly wood, 6.75” x 13.75” x 10.5” $1,600

Katie Pasquini Masopust

Quilting has invaded all of my life. I travel around the world teaching my ideas and feel very fortunate to be able to do this. I give lectures and meet wonderful, likeminded people where ever I go, and I have had to diversify myself in order to make a living. Just selling quilts would not be very lucrative. I write books on my techniques, I lecture and teach workshops and run an art quilt conference in Colorado. I design fabric that is sold in quilt shops and write for different fiber publications.

Making art quilts is what makes me whole. I have so many ideas spinning around in my head that I have to get them out and into the world. I love to see the colors come together. It is my voice, a way of communicating with the world.

— Katie Pasquini Masopust (b.1955)

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

Katie Pasquini Masopust, Pentatoni, Five Notes, quilt, 46” x 43” $6,500

Florence Pénault

Clay is a very attractive material, though it may not seem so. It is dirty; we spend a lot of time with mud and water and it looks more a chore than a pleasure. Mastering throwing is a long-term project. But the satisfaction comes from the contact with this matter and creating an object from what begins as a shapeless mass.

It has been seventeen years now since I began working in ceramic, and it took ten of those years to master a process that is in part based on repetition of the same shapes. By definition this is a Craft. But each handmade piece is slightly different from the others. Sometimes I make something that is maybe a piece of Art, but with a function. That’s what I want.

— Florence Pénault (b.1958)

SOLD

Florence Pénault, Box, stoneware, porcelain, red iron and cobalt oxides, 7” x 7” x 7”

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

Florence Pénault, Seoul, stoneware, porcelain, bronze glaze on rim, 7” x 6” x 5.625” $420

Florence Pénault, Vague, stonewar, porcelain, bronze glaze on lid,

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

4.5” x 12” $480

Judith Schaechter

After all these years, every new piece I make feels like a plunge off a cliff where knowledge, certainty and security are gone. Although I am not religious, I have come to understand that creativity in the arts is a pure act of faith. As I leave the realm of the unknown to follow the piece where it wants to take me there is literally nothing to hang my hat on. It is surprising to discover just how much faith art-making requires. It’s a number that encompasses both zero and infinity.

—Judith Schaechter (b. 1961)

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

Judith Schaechter, Odalisque, stained glass lightbox, 22” x 30” x 4” $48,000

Courtesy: Claire Oliver Gallery, NY

Diane Armitage

The Bardo Stones project came out of a period in my life (of) significant loss — the ending of a life cycle, and for me that ending was a form of death. In Buddhist philosophy, The Bardo is that transitional place between dying and reincarnation.

What began as unpremeditated gestures — placing stones in dead trees — became layered over time by a textual component that was an extension of my own philosophical underpinnings.

The idea for making a book (The Bardo Stones—assembled in the dark) was born in a time of collective crisis as this global pandemic turns our world inside out and upside down. We are all in The Bardo now.

Pressing in on me is the notion that there…is all the more reason to find and keep my bearings… And…pushing up from below, is this desire to reveal, if not explain, the topography of the inward being.

— Diane Armitage (b.1943)

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

Diane Armitage, The Bardo Stones, archival pigment print, 22” x 27” $900

Nick Benson

THE PORTRAIT

I began to encode photographs of people’s faces into Base64 algorithm, as a symbol of how the computer takes the individual human and reduces their totality into a data-based record of identification – not dissimilar to facial recognition.

I then took this code and interpreted it calligraphically, in a step of re-establishing the human soul. In this particular instance I’ve used a photo of myself.

In a preliminary attempt at establishing the aesthetic of the calligraphic work for these encoded portraits I made this test to see how the ink from my fountain pen would interact with the paper.

— Nicholas W. Benson (b. 1964)

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

Nick Benson, Coded Script, ink on paper, 23” x 18” $4,200

Burning Books

Burning Books, as a rule, enjoys incorporating mistakes, favors content over technique, and often utilizes commercial methods and materials readily available. We like to make quick decisions in the beginning but have enough time left after “finishing” a project to completely rework it if necessary.

— Burning Books (1979)

Writer/editor Melody Sumner Carnahan (b.1951) and artist/designer Michael Sumner (b.1949)

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

Burning Books, Twice Through the Maze, archival pigment print, 16” x 52” $1,700

Krista Elrick

As a photographer I was trained to question visual culture with the tools of curiosity and craft…and curiosity led me searching for answers. As one would expect, my research is constantly being influenced by surrounding events, and finding the answers — even articulating further questions — takes time to absorb fully…All of this reflection can feel exasperating and inefficient, however, but now that I know how it works for me, I greatly respect that the questioning is an essential part of my art-making process.

Film-based, in-camera exposures combined with silver-gelatin prints are the foundation of my work…For me every step in this process is humbling because I continue to learn new things every time, which is good for my health and the community around me.

— Krista Elrick (b.1956)

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

Krista Elrick, Conflicts on Ivory-billed Woodpeckers, archival pigment print, 20” x 24” $3,000

Collage insets: John James Audubon, Ivory billed Woodpecker. (Havell Plate No. 66). Watercolor, pastel, black ink, graphite, and gouache. Source: Collection of the New-York Historical Society Museum & Library, New York.

Luis Palacio Kaim

The important thing (among others) isn’t to decide if something is art or artisanship, if it’s transcendent or it isn’t. In this way, I’ve learned that a good loaf of bread coming out of the oven can have a greater aesthetic capacity than a mediocre painting. Like the ones hung by the thousands in gallery windows.

Learning can be an art. So can war. A conversation, a party, surgery, sailing, love, diplomacy, hiking, odontology, equestrianism. Just like walking, breathing, or contemplation. Or being a good pickpocket.

One day, in an art supply store, I saw a kind of red paper with tiny metallic particles that gave it a special shine. It was tissue paper, which in Mexico we call papel de China (“paper from China”). I took a sample of the paper and studied it for days. Suddenly, I thought: “What if every one of these metallic dots represented a person in China? How many sheets would I need to include all 1,400,000,000 Chinese citizens?” I used a magnifying glass to count all the dots inside one square centimeter of the paper, multiplied it by the size of the whole sheet, and calculated the number of sheets I’d need to make a book that would contain the entire national population. Why should a story be told or an encyclopedia be built using only letters, numbers, and illustrations? After all, they’re still conventional tools. But what might a red book with tiny gold dots be able to tell us?

It doesn’t really matter whether this project is called conceptual art or not. What matters is that this is how my work gets done. Sometimes.

— Luis Palacios Kaim (b.1946)

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

Luis Palacio Kaim, China 1,350,000,000, Chinese paper, 15.6” x 10.6” x 3” $6,000

Dana Newmann

I have, since childhood, been intrigued by the resonance of objects…In much of my work I rescue and re-associate fragile remains of the American record, as found in clippings, diaries, nineteenth-century letters and other ephemera.

When beginning a new piece, I allow the materials to lead me; they dictate each composition or structure. The process of making a collage is, for me, a kind of meditation — a reverie.

As much as I rely on it, I recognize that intuition is informed — even trained — by years of practice; every day; by being a habitual observer, and by recognizing patterns — whether they occur in nature or as the artifacts of a particular time and place.

I grew up watching members of my family making things — building furniture that remains in use even today, carving toys for children, and “piecing cloth” into beautiful Wedding Ring and Log Cabin quilts. When I do my work, I am heir to these traditions.

— Dana Newmann (b.1937)

Dana Newmann, Aesop Revisited, 1985-2014, book collage, 10.5” x 11.75” $1,500

Courtesy: Pie Projects, Santa Fe, NM

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

PAINTERS

Ann Arnold

Painting with glazes demands a complex two-step process of perception. After firing, the colors look completely different from when they are freshly applied. I took notes, made mistakes, looked at sample tiles and bumbled along until the results began to match my intentions. For me, the subjects of birds, flowers, and fish seem especially suited to tile making.

When thinking of why I paint, and draw, and paint tiles — and generally enjoy making things, I am reminded of the dialog in Dorothy L. Sayers’ Strong Poison between Lord Peter Wimsey and Miss Climpson, the head of his faux secretarial outfit:

“Well now,” said Wimsey, “why do people kill people?”…

“I don’t know,” she said, apparently taking the problem as a psychological one, “it is so dangerous, as well as so terribly wicked, one wonders that anybody has the effrontery to undertake it. And very often they gain so little by it.”

I could say the same about why I paint.

— Ann Arnold (b. 1952)

Ann Arnold, Lotus with Dragonflies, hand painted fired clay, 8” x 8”

SOLD

John Beerman

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

John Beerman, Burnt Cove Summer, Rowboat and Dock, oil on linen, 16” x 24”

$14,500

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

John Beerman, Grasses and Water, Hyde County, oil on linen, 16” x 18” $13,000

Christopher Benson

I have always had a painterly approach, with brush and knife marks clearly evident in my surfaces. The slick stylizations of much of the work proliferating today across the internet and at the art fairs and galleries does not interest me much. We’re so neurotic about artistic novelty now that much of the contemporary art of the past few decades feels quite superficial to me. Somewhere along the line, painting especially became more of a product line than the sort of probing visual poetry that first called me to this path.

There’s nothing wrong with modernity. I want to be modern too. And, if we’re honest, we don’t have a choice, do we? We live in the modern world and anything we do here will inevitably reflect it, even when we try to hide from it by re-inventing the past. But I often think how Edouard Manet ( a leading innovator of early Modernism) was so startlingly contemporary in his own time while yet tipping his hat to the masters who had preceded him. That was part of what made his work so rich and complex. For me too, new works that can’t comfortably retain some of the hoary residue of painting’s past offer a pretty thin soup; I just find myself wanting more to eat.

—Christopher Benson (b. 1960)

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

Christopher Benson, Knuckle Sandwich, oil on linen, 48” x 36” $26,000

Oliver Benson

When I was nineteen years old I “decided” to be an artist — if it’s actually one’s decision to make. I left university and went to art school in Philadelphia. I was so disappointed by what I found there and so frustrated that I declared independence and dropped out. I took on the persona of the tarot’s “Fool” and threw myself into the mouth of Fate.

Not wanting to waste time chasing dollars, I vowed that I would live as cheaply as possible, and draw and paint constantly… Eventually the spirits called Comfort and Industry coaxed me indoors. It’s for the best. An artist must first of all be free but must also learn to be practical.

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

— Oliver Benson (.b.1968)

Oliver Benson, Namaka’s Flood, acrylic on panel,16” x 12” $3,200

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

Oliver Benson, Magic War, acrylic on panel, 29” x 22” $8,700

Maurice Burns

I compose and paint in a collage-type fashion… It’s free-form — whatever comes to mind.

I like different kinds of imagery and I use them as graphic elements and let people try to make sense out of it for themselves. What turned me to that direction was I was doing some black Gospel singers. But white people looked at them and said: “They must be Black Panthers!” These are Gospel people, they’re singin’ about Jesus! Then there was a girl named Brenda Branch, with a big Afro and glasses —

“Oh, it’s Angela Davis.”

“Huh? NO, it ain’t Angela Davis!”

That’s when I realized that no matter what you paint, somebody’s going to make their own assessment. I said, “OK, I’ll fuck with some minds here — I’ll put some stuff together and let’s see how YOU figure that out.”

— Maurice Burns (b.1937)

Maurice Burns, East Village Collage,assemblage collage $35,000 Courtesy: Gerald Peters Contemporary, Santa Fe, NM

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

Peter Devine

Painting connects me to life. It’s the means by which I come to more deeply understand and feel the world around me. Through painting, I penetrate past my assumptions to an unanticipated level of insight. It’s as if I don’t really see something until I have a brush in my hand.

I paint as much as I can from direct observation. There are limits. Large landscapes can’t be done on site, but their studies can. French easel in hand, I toddle into a field or onto some scrag of coastline to make a sketch. It’s exhilarating. There is air, there is wind, there are smells, birds, the sounds of close and distant machinery. Clouds hide the sun; it gets cool. Bugs spoil the Eden; the easel blows over. It’s a joy; it’s a struggle. This is life. Can I get all of this onto the canvas — rarely, but I try.

— Peter Devine (b.1944)

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

Peter Devine, Iconic Cloud, oil on canvas, 16” x 20” $3,600

Collage and Abstract Expressionistic painting are inventions of the twentieth century that have formed my aesthetic and my structural process. Creating and controlling accident, combining historical idioms into heterogeneous imagery and expression are my driving visual concerns. For me painting is a conflict between analysis and intuition, control and surrender, desire and love.

—David Frazer (b. 1967)

David Frazer

oil on canvas, 36” x 30” $8,700

The act of painting for me is a way of empathizing and appreciating people and our deep human connections. I have painted my female friends in their homes for many years…

I am still fascinated by the human form and the infinite array of colors and shapes and mark-making potential that it offers. I try to figure people out through painting them. I want to understand people to the best of my ability, and am fascinated by different personalities and how other people live. The surroundings that are people’s homes tell the story of who they are and how that person functions in the world. You can’t invent this stuff.

Chelsea Gibson

— Chelsea Gibson (b.1983)

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

Chelsea Gibson, Heart to Heart with Carla, oil on panel, 24” x 24” $2,400

Phillis Ideal

My compositions and palettes evolve during my experiments in the studio, conflating and referencing many historical movements and tendencies from Modernism to Abstract Expressionism, Color Field to Minimalism and beyond—creating my own language out of many forms of abstraction. I try to open up visual possibility, painting expansively, regardless of the size of the visual field, laying down broadly described areas of color, painterly gesture, defined contour, combinations of texture, scratch and scribble, and geometrically defined hard edges. My paintings layer and illustrate a visual history of the medium’s evolution while simultaneously concealing it, transforming the image into something altogether new.

—Phillis Ideal (b. 1942)

Phillis Ideal, Blue Icon, acrylic, spray paint, collage on panel, 14” x 11”

Luke Randall MacDonald

I’ve always been a fan of Polaroid film. Since childhood, the magic of an image appearing instantly has made me happy. In 2014, I was given permission to salvage the contents of an abandoned house in Jamestown, Rhode Island that was slated for demolition. This classic, shingle-style house, which now had holes in the roof, had once been the beautiful home of David Aston and his family. On the living room floor I found a large collection of Polaroid pictures, scattered amongst the debris of the decaying house. I immediately began to draw inspiration from these photographs, curating images that had already been ordered by the original photographer’s unique world-view.

I identified with David Aston’s intuitive need to record things that were meaningful to him and recognized within the images a connection to my own emotional and sentimental need to record memories of people, places and things. I believe that this human tendency to record what we see in the world around us, as a reference for the temporal nature of our experience, is both primal and universal. For me, such images transcend our individual sensibilities and enter the world of our collective human consciousness.

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

Luke Randall MacDonald, Tin Box $1,200

— Luke MacDonald Randall (b.1964-d.2022)

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

Luke Randall MacDonald, David and Catherine, polaroid series, oil on linen, 50” x 50” $12,000

Patrick McFarlin

—I woke up to “It Paints”— that out-of-body experience where some inexplicable force takes over the production. Fellini described it this way: “When I direct, a mysterious invader takes over and directs the whole film for me.” Philip Guston put it like this: “You go into the studio and everybody is there — your friends , the art writers and the museum people and you’re just there painting. And one by one they leave until you’re really alone. Then Ideally, you leave.” It paints.

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

—Patrick McFarlin (b. 1939)

Patrick McFarlin, Botanical Billboard, mixed media $

Patrick McFarlin, Botanical Boat #1, mixed media on canvas, 48” x 24”

$18,000

Patrick McFarlin, Botanical Boat #2, mixed media on panel, 20” x16” $12,000

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

Patrick McFarlin, Botanical Boat #3, mixed media on panel, 13” x 9” $8,500

Sue McNally

So, the effort, the struggle, the challenge—that is the art. Painting is my craft.

As my most favorite thing to do, the process of painting seeps into every part of my life and it is what makes me a whole person. One of my favorite people in the world was my aunt, Sister Eleanor McNally. She and I talked about the concept of a ‘calling’ many times. Although I am not a religious person, being an artist is my calling; she and I both agreed upon that. So why do I do it? Because it’s what I am.

—Sue McNally (b. 1967)

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

Sue McNally, My Fuzzy Western Tree, oil on canvas, 36” x 32” $8,500

Sheila Miles

I am quite disciplined in my work habits. I paint everyday starting early in the morning. I have known for a long time that if I paint at the same time every day my brain starts working before I even enter the studio.

I like art that has some grit and some edge, a reality or some melancholy. I think the mark should show some intent and at the same time I want my work to look effortless, as if the paint fell from the sky and landed on the canvas. (This is where the craftsmanship meets art.) Sometimes I can pull it off.

I paint because there is nothing like championing one’s own life, one’s way of seeing the world. If I make art it’s a good day. Nothing else matters.

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

Sheila Miles, Beach House Window, oil and wax on canvas, 22” x 28” $3,200

— Sheila Miles (b.1952)

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

Sheila Miles, Beach House Window, oil and wax on canvas, 22” x 28” $3,200

Gage Opdenbrouw

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

Gage Opdenbrouw, BlackSpring Bouquet #2, oil on canvas, 16” x 16” $3,200

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

Gage Opdenbrouw, Moonlight in Camp Meeker, oil on panel, 12” x 12” $1,500

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

Gage Opdenbrouw, Redwood Tangle, oil on canvas, 30” x 30” $4,000

Leslie Parke

When I paint really well, it’s almost as if I’m not there at all. The painting is actually passing through me, and I am only its midwife. I need to be prepared physically and mentally; I need to have painted the picture in my head before I arrive, and then I have to be available to the task at hand. There might even be a long period when I am battling it out with the painting, trying to render what is in my head. But it is only when I give up the battle that the real painting begins. Once I decide that the painting is so bad as it is, I relinquish trying to control it and let it take me where it will.

— Leslie Parke (b.1952)

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

Leslie Parke, Christopher’s Dilemma, oil and acrylic marker on panel, 5” x 7” $1,800

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

Leslie Parke, Arc of Reason, oil nad acrylic marker on panel, 4” x 4” $1,200

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

Leslie Parke, Iona, oil and acrylic markers on panel, 24” x 12” $4,500

Brian Rego

There is another “hand” at work, guiding the artist. This “hand” is collaborative in nature and it is persistent. It reveals phenomena in things that are familiar to me, and it beckons me to ask hard questions that require answers I don’t have. The process is grueling, but feels miraculous when it works out. So, here I am, engaged with issuing forth something out of nothing because, instinctually, I know this is a sacred act. Except that it is not from nothing; it most certainly is from something; I can feel it, and the mystery of it captures me. The muse. This mysterious, intelligent and relentlessly consuming beauty. It will not put me down, nor will it grant me rest. I revel in it, and I feel like I belong to it. I have known this ache since I was a little boy; the pain and longing that comes from a desire unmet, consuming my heart and the only way to release it is to push it out of me, yielding lines and shapes and colors, and imagery.

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

Brian Rego, Dock at Sardis Lake, oil on panel, 12” x 16” $3,000

Brian Rego (b. 1980)

x 12.75” $2,800

Michael Scott

There’s no clear benfit to spending your life as an artist. It’s a ridiculous process to participate in: a real roller coaster ride. But I think if you approach it in a scientific spirit—where there are things to discover, and that conversation with the unknown is a thing you just want to involve yourself in—that becomes addictive. You’re no longer just making an image that’s recognizably yours like some fashion line; you’re after making something that’s different today from what it was ten years ago. An evolution of your own spirit takes place in the work. I always think that while you can have an idea that you want to seek as a painter—the idea isn’t where you want to end up; you want to FIND something.

—Michael Scott (b. 1952)

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

Scott Michael, Fire Orb, oil on canvas, 80” x 57” $90,000

Sarah Shaw

I see myself as an excavator. The substance and final imagery in my work can be somewhat schizophrenic, varying as it does from a kind of psychological landscape to portraiture, albeit of the darker kind, but the process of my work is always the same,. I find myself discovering the painting through process and To

PPlease include title of artwork with your inquiry.

Sarah Shaw, Arrowyn, oil on wood, 11” x 11” $1,200

through allowing any elements of chance, accident and circumstance to dictate the revealing of the imagery therein. It is often only in restrospect that I understand, or see, the personal emotional relevance of any particular painting.

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

Sarah Shaw, Diableries VIII, oil on wood, 11” x 11” $1,200

—Sarah Shaw (b. 1973)

Frédéric Vangeebergen

My paintings are like stage sets in which human and animal characters interact with objects in cramped environments and in three dimensions.

I am particularly interested in exploring and expressing a deep reflection on human loneliness as a way to take a step back from more external contemporary events. In secret rooms, caves and forests, the figures in these scenes can be seen both as voyeurs and witnesses of whatever action is transpiring. These characters are also often protected by natural elements such as cliffs and rocks. Sometimes I work in monochrome, echoing the grayness of the Flemish primitive painters, with theatrical lighting and the golden light of the country of Flanders.

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

Frédéric Vangeebergen, Wandering Through Grief graphite pencil and acrylic on paper, 23.25” x 35.75” $2,500

— Frédéric Vangeebergen (b.1961)

Vangeebergen, Midnight Through the Looking Glass

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

Frédéric

graphite and acrylic on paper, 36.25” x 27.5” $2,500

Peter Wickenden

I don’t really know where my imagery comes from…I start out doing really loose, black India ink and water washes. I do it repeatedly and randomly, so it leaves patterns. I find imagery in the patterns; it’s like a kid looking at clouds — like seeing lions and shit, you know? I find that when I try to interject my own ideas, it just doesn’t come off. I’ve done that and then I just end up erasing it and starting over.

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

Peter Wickenden, Untitled I, sgraffito on panel, 11” x 14” $2,500 Courtesy: FRED.GIAMPIETRO Gallery, Branford, CT

Craftsmanship is super important to me. Art and craft are the handmaidens of each other, there’s no question about it.

I completely depend on this work for keeping any semblance of sanity that I have. It’s completely compulsive, and I just can’t imagine not being able to do it. I came to it late, but it was worth the wait. It’s really everything to me.

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

Peter Wickenden, Untitled II, sgraffito on panel, 11” x 14” $2,500 Courtesy: FRED.GIAMPIETRO Gallery, Branford, CT

— Peter Wickenden (b.1958)

I feel an urgency to observe nature and learn from its modes of behavior or, at the least, record the wonders that are still here. The yucca plant and its mutualistic relationship to its sole pollinator, the yucca moth, has inspired many of my artworks. I find myself in similar symbiotic relationships with plants, animals, and people that assist me in being present in the making. My work leads to ever-deeper relationships within an expansive world.

I feel an urgency to observe nature and learn from its modes of behavior or, at the least, record the wonders that are still here. The yucca plant and its mutualistic relationship to its sole pollinator, the yucca moth, has inspired many of my artworks. I find myself in similar symbiotic relationships with plants, animals, and people that assist me in being present in the making. My work leads to ever-deeper relationships within an expansive world.

— Paula Wilson (b.1975)

Paula Wilson

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

Paula Wilson, Eye Spots, 2 color litho with chine collé, 27.75” x 22” $2,800

Courtesy: Tamarind Institute, Albequerque, NM

Robert Benjamin

For my part, I am often a bit confused by what is called Art these days — so I simply choose to either ignore the entire concept or to open up to all possibilities. But I am also aware that this ‘Art’ is a shared experience, and that, of course, is the reason it can take on meaning. We all have a story, a journey that got us to where we are. They are as varied and interesting as life itself, and yet somehow there is an inherent common core lurking there.

Deep in the making of any work, time evaporates, and attention becomes an act of devotion — that is our gift, regardless of our particular discipline, compulsions or goals. In this pursuit, the effort of doing the work has its own reward, while the results of the craft are not always of equal value or interest. The creative process is, for me, a spiritual activity — alas! the remains of it will be left to the Social Court.

It is this special process that keeps us return-ing to our work — a dip into our natural spirit. It is a mystery that doesn’t need an answer. So, I wonder, is Art self-created, or an intuitive response to something already there in each of us — a response without the concept of why? It might depend on who we think we are, on our sense of purpose, our spiritual or life training, on inexplicable gifts. Art is form revealed, manifested, witnessed — I think from a burst of glorious self-unawareness — a focus and immersion so intense that we lose our sense of ourselves and walk on water — if even for an instant.

— Robert Benjamin (b.1947)

Robert Benjamin, Walker at Pawnee Grasslands, archival pigment print, 12” x 12” $4,500

Arduina Caponigro

It’s tempting to think of art as an idea and craft as its execution, but they really can’t be separated from one another. Art without craft is clumsy — like an olympic swimmer wearing water-wings. I work to make well-crafted prints because there shouldn’t be a disjuncture between art and craft. If what I’m creating is important to me, then it’s important to do it beautifully, so that the feeling of my work becomes harmonious with its intention. Often, in the process of making things, I end up bringing even more to light than I had originally intended. Craft isn’t why I create but it helps me get there.

—Arduina Caponigro (b. 1973)

John Paul Caponigro

I make photographs, but I also write, draw, and compose new pictures by combining and recombining different elements in images taken directly from the natural world.

All these creative pursuits can work together in a beautiful synergy. Observation, imagination and feeling are all with me at every stage of the work and are changed by each medium in turn. This isn’t a linear process; it’s networked like the flow of blood in my body.

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

John Paul Caponigro, Global Warning l, archival pigment print, edition 1/15, 22” x 18” $2,500

—John Paul Caponigro (b. 1965)

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

John Paul Caponigro, Alignment X, archival pigment print, edition 1/15, 22” x 19” $2,500

Paul Caponigro

I see my photographs as dreams locked in silver. The subtle suggestions generated by con-figurations of cloud and stone, as shape and tone, make the photograph a place from which to con-tinue an adventurous journey through a land-scape of reflection and introspection.

Caponigro

—Paul

(b. 1932)

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

Paul Caponigro, Sun Flower, silver gelatin print, 8” x 10” $6,000

William Clift

Photographing is a little like dowsing: I walk on land with a Y-shaped stick pointing upright as I search for a spot to drill for water. When the stick bends on its own towards the ground, it indicates water below. In the same way, I follow my interests in picture making — be they landscape, family, immediate surroundings, architecture or portraits — across the whole gamut of a life that is being lived.

—William Clift (b. 1944)

Lois Conner

Photography is always fiction; it doesn’t stand in for the real world. These photographs describe my relationship to both the mythical and the veritable. Finally, it is the act of selection, with the creator drawing the lines around the world, making it theirs.

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

Lois Conner, Spar Hill, Pennsylvania, platinum print, edition 1/10, 10” dia $4,000

—Lois Conner (b.1951)

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

Lois Conner, North Rim Canyon de Chelley, AZ, platinum print, edition 5/10, 17” x 7”

$4,900

Lesley Frowick

Art in any medium is a solitary journey, a continuum of our familial genetic sequencing. Preceding strokes set the foundation for our individual aptitudes and personal vision, the essence of our creativity.

—Lesley Frowick (b. 1958)

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

Even as a young child, I cultivated the habit of exploring the world through images. To me, people, trees and animals were more real in books than in life itself. That was the beginning. From then on, I started collecting magnifying glasses, binoculars, glass shards, and any other artifact that could work as an intermediary in creating a certain distortion, a certain distance, between the outside world and me. This search led me to discover the camera, the laboratory, the alchemy of the darkroom — and, later, the possibility of fusing the analogue world with the digital world in order to build, little by little, a grammar, a language of my own.

Much of my work involves reflecting on the idea of the collection: details, appropriated images, lists… I work in a laboratory of categories in which the desire to unite, separate, select, and number is exercised in a futile attempt to classify the world. It is a return to the Camera of Wonders through the eye of the black box that accompanies me everywhere I go.

— Patricia Lagarde (b.1961)

Patricia Lagarde

$500 each / $12,000 for complete collection

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

Patricia Lagarde, ARS Combinatoria from left to right, #1- #25, ChromaLuxe printing on aluminum, 4” x 5”

Elvira Piedra

In this era of digital photography, the physicality of a handmade print has become more poignant. One beholds so many images now, from life’s moments recorded on our mobile phones, to the enormous libraries of images available online. Perhaps we are blessed by the dearth of prints that might otherwise issue from that enormous compendium of pictures, but the presence of a print still does have meaning. It is alive and capable of transmission. For a picture to have that life force — to matter — it must be allowed to have a presence beyond the screen.

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

Elvira Piedra, April, Lunenburg, gelatin silver print, 10” x 8” $980

Making a print is the fulfillment of my work. The physical object is an attempt to make an inner experience visible — not to capture a passing moment, so much as to sustain the present. It is an expression of the desire for something eternal.

Now I understand that the longing which filled my being as a young person was simply a love for life. My photographs are records of that love. Moments where I defied apathy and de-feated death — where my awareness expanded and joy arose. I become closer to all of life in such moments, and to the deepest realization of all of nature. I come alive.

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

Elvira Piedra, Berkeley Risen Flower, Berkeley, gelatin silver print, 10” x 8”

$980

—Elvira Piedra (b.1969)

Edward Ranney

Gone today, for most photographers, are the realities of the craft associated with black and white photography — the intricate steps of exposure and development of the negative, the pleasure of proofing those unseen images, and finally, the immersion in the process of printing selected negatives that would prove to have a special quality.

It may be increasingly difficult now for viewers to distinguish a pigment print from a gelatin silver print, particularly when seen under glass in an exhibition. Nevertheless, there are qualities and subtleties in a well-made silver print that continue to have an enduring appeal and authenticity. Well before the digital age, Szarkowski wrote the following in regard to a photograph in the Museum collection made by Paul

To inquire please click

art@evokecontemporary.com

Please include title of artwork with your inquiry.

Edward Ranney, Nazca Plain, 1985, archival pigment print, edition 2/10, 21.25” x 30” $4,500

Caponigro: “… occasionally, the meaning [of a photograph] will be so nearly invisible that it will be present in one print and absent in another, only mar-ginally different, made from the same negative, even though both prints may be exemplary by exacting academic standards.

Photography, if practiced with high seriousness, is a contest between a photographer and the presumptions of approximate and habitual seeing. The contest can be held anywhere — on a city sidewalk, or in a scientific laboratory, or among the markers of ancient dead gods.”

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

Edward Ranney, Machu Picchu, silver gelatin photograph, 13” x 18.5” $4,000

—Edward Ranney (b.1942)

Zoë Zimmerman

When my children were young, they thought all mothers had a studio. It was the magical place where art supplies lived. They were allowed in the space if they were quiet and “working on something.” My youngest came home from a playdate once and announced with a furrowed brow and an attitude of judgment that” Maya’s mother doesn’t have a studio.” “Well,” I explained, “Maya’s mother isn’t an artist.” Notably perturbed, my child queried, “But where does she make things?”

— Zoë Zimmerman (b.1965)

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

Zoë Zimmerman, Pandemic # 122, archival pigment print, 25” x 21” $1,200

Will Clift

Much of my creative process begins with a sudden movement or recognition. I’ll be walking down a sidewalk whe some tiny detail of form, a subtle movement, or an abstract sensation grabs my attention with an unmistakable poke to my gut. I’m compelled to stop, look, and capture it, ideally before my mind gets busy interpreting or labeling—as if I’d encountered a bubbling spring and made a connection between the everyday world and a hidden aquifer deep beneath.

Will Clift, Enclosing form Two Pieces Horizontal, Sapele wood, 10.5” x 28” x 2” $7,000

Courtesy: Gerald Peters Contemporary, Santa Fe, NM

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

—Will Clift (b. 1978)

Will Clift, Curving Over in Four Parts, Sapele wood, 27.5” x 55” x 2” $12,000

Courtesy: Gerald Peters Contemporary, Santa Fe, NM

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

Jack Craft

Growing up on a West Texas ranch, I was surrounded by…the highest examples of craft, articles of cowboy tack. These tools of the cowboy’s trade had to utilize the best quality materials, crafted to the highest standards of integrity, because the life of the user literally depends on the quality of the equipment. This world of relatively hard, sometimes dangerous work formed the foundation of my craftsmanship and aesthetic. A little bit rough but always strong and somehow correct.

I have always been drawn to iron from my earliest days as a teenage blacksmith. I believe that the material is what drives my passion for the process of casting iron. I like it and other people respond to it. It is as if people feel the energy that is static in these objects; all of the heat and effort of all the people involved in the communal iron pours lay latent in my hand, a metaphysical presence with mass.

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

Jack Craft, Circumstance, cast iron, 12” x 12” x 12” $20,000

All of my sculptural objects possess a rough but well made feel, an aesthetic from my earliest memories on the ranch of how something should look, how that thing should feel, and the vital importance that those qualities be correct because your life may depend on their integrity. I find that as I work other ideas occur — avenues to be explored and worlds to be created. In short, work begets work, and that is my greatest inspiration.

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

Jack Craft, Being, cast iron,15” dia $20,000

— Jack Craft (b.1962)

Howard Newman

On a Fulbright fellowship in a foundry in Italy in 1971, there was Jacques Lipchitz retouching a wax model. Quaking in my shoes I walked up to him and asked bluntly, frog in my throat, “What’s the most important thing I can do as a sculptor?” He stared at me for a second and said, “Don’t ever stop drawing. If you do, you’re sunk.”

Drawing from nothing rather than looking at an intermediary like a person or a landscape is another world. Not better. Just different.

— Howard Newman (b.1943)

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

Howard Newman, Scavenger, bronze, 1 of 2 A/P, 8” x 22” x 16” $49,000

WORKS ON PAPER

AND BOOK ARTS

Leonard Baskin

Art is man’s distinctly human way of fighting death.

— Leonard Baskin (b.1922 — d. 2000)

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

Leonard Baskin, George Stubbs, wood engraving, 8.25” x4.625” $750

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

Leonard Baskin, Camille Corot, wood engraving, 7.25” x 4.625” $750

Risa Benson

There is a particular joy in simply plunging in and being willing to “waste paper” in order to, at times, hit the mark. Through the process of trying water soluble pencils, wax resists, hot or cold pressed papers, and even a variety of grounds to achieve effects that interest me, I have continued to drill down into what feels current. My tools: a raft of different sized and shaped brushes as well as other methods of paint application: used credit cards or oil pastels to create different levels of color and texture.

Jumping in with abandon often offers the best results; I have noticed that when I am ready to clean my palette, I use paint that would otherwise be discarded — it is easier to reach that looseness that I think we all ultimately wish for. I also find that “scribbling” is a way into a mode that allows the freedom of movement to be open to what is offered. The waters of creativity are to be found in the uneasy maelstrom of endless possibilities.

— Risa Benson (b.1939)

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

Risa Benson, Outside, 2020, watercolor on board, 6” x 11.5” $1,500

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

Thayer Carter

Why do I do art, you ask? Good question, but a difficult one to answer. Perhaps I enjoy the process, the challenge of aesthetic decisions, or maybe it’s being caught up in the moment of being lost in a maze of endless possibilities. Either way, if I’m painting landscapes or carving woodcuts or designing and building small buildings, there is something that motivates me without reason or a defined philosophy. I just enjoy being caught up in the moment that defines who I am. It’s art that helps me visually see my imbalance and gives me the opportunity to correct and it is also a way to have some control in my life.

What can be more enjoyable than being outside immersed in a landscape, drawing, making woodcuts, building buildings or pushing paint on a canvas; being eaten alive with ants crawling up your legs, carefully observing your surroundings for rattlesnakes and having the wind blow your easel over just after completing your painting? All of it: It’s what I do. It’s a labor of love.

— Thayer Carter (b.1942)

Thayer Carter, Saguaro, woodcut, 11” x 9.5”

SOLD

Thayer Carter, Meyer Street 2, woodcut print, 8.5” x 8.25” $400

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

Thayer Carter, View from Arroyo, Bisti, woodcut print, 10” x 12” $400

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

Carola Clift

The deeper I go into the process (of creating), the more I am listening and the less I am speaking. It tells me what it needs. This “It” is what informs and guides the craft. This happens through familiarity with my materials—but also, importantly, through unfamiliarity: letting go of preconsceptions, my own fickle likes or dislikes, and any identification with what I’ve done in the past, as I remain open to what is unfolding.

—Carola Clift (b. 1974)

Carola Clift, 31 December 2005, watercolor on panel, 10.5” x 10.5” $7,000

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

David Frazer

It [Illustration] also was the closest medium I’ve ever found to song writing. It worked well with text, with poems, with song lyrics. I could tell little stories and I could stitch them together in a book. To me the engravings are like songs, and the book is like the album. I loved how you could confidently be poetic, romantic or funny. You could be illustrative in a way that is very difficult to pull off with painting. They are small and intimate; you are forced to go right up close to them, and connection to people was perfect for me. I could communicate with people without actually having to talk to them.

Please include title of artwork with your inquiry.

David Frazer, Walking in Solace, Composition I, linocut, 45” x 66.5” $4,500

— David Frazer (b.1966)

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

David Frazer, Walking in Solace, Composition III, linocut, 45” x 52.75” $3,500

David Lance Goines

Obviously, an artist is someone who creates art, just as a baker is someone who makes bread, and a plumber is someone who installs and repairs plumbing. These are simply trades and professions; that is, means by which different people make their livings.

Unlike plumbing or baking however, the difficulty lies in defining “art.” Art is pretty much whatever anybody says it is, and an artist is similarly anybody who says he is one. This leaves any definition of “artist” and “art” so vague as to be meaningless. Does the act of creation, be it ever so humble or idiosyncratic, suffice to allow one to lift the laurel of “artist” to his brow? Anybody can call himself anything, but the test is whether or not you actually are qualified…You can’t just call yourself a college professor or medical doctor and expect anyone to take you seriously. You need to have something to back it up. The term “artist” is unlike “electrician” or “dog trainer” neither conveys qualification, nor is it specific enough to shed much light on what a person may actually do.

I am a competent technician. I give value for value. I am an honest workman, and I do not want people to think that I am a con-man, running a scam, cheating the king out of his money under the pretense of making for him a suit of clothes that only the virtuous can perceive.

Therefore I do not call myself an artist. I create flat, representational objects — illustrations, books, posters, stained glass windows, greeting cards, wedding invitations, wine labels — in return for money. I’m glad that people like what I do, because that means that I can go on doing it. I like what I do, and consider it a privilege to be able to make my living doing it. But, I am not, at least in twenty-first century terms, an artist. I’ll leave that to those who have no idea at all of what they do, or who they are, or where they are going, and must, for want of any other word, call themselves artists.

—David Lance Goines (b.1945-2023)

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

David Lance Goines, Velo-Sport Bicycles 23.75” x 17.75” $2,200

Christopher Lee

I am a sucker for the media savvy art generation of the 1980s and ‘90s — the people who catapulted Warhol and Basquiat to icon status. I guess that mine is a cautionary tale. We are the people who can’t be bothered with labor-intensive academic painting or with “sincerity.” We want to take it or leave it with a quick hit Quixotic “gesture.” My art is silkscreen-based, referential to pop culture, art as spectacle — basic colors straight out of the tube painting, etc. I am an “art person” interested in the “artworld”. . . my pieces are quickly made convulsions leaving time to get out and hit the openings and after parties. As the genius Sistine Chapel master, Michelangelo Bounarroti said: “Fuck ‘em if they can’t take a joke.”

— Chris Lee (b.1962)

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

Christopher Lee, King David, ink on paper, 24” x 36” $2,500

Christopher Lee, Untitled, ink on paper, 8” x 10” $500

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

Russell Maret

Over the twenty-four years of pursuing this odd alphabetical path, I have gradually begun to understand what it has been trying to teach me. Conceptually I am not satisfied with the textual realism of traditional type design. Typefaces may be suitable to describe the work I make, but they are not in themselves the work. The difficulty I have had reconciling myself with this is that, as a craftsperson, a part of me revolts against the idea of obscuring text, even if I believe that through obscurity I might reach a more meaningful level of content. If I am to move forward with my work, then, I need to reconcile these two alphabetical selves into a unified voice. It sounds pretty straightforward when I put it down on paper. But it has only been by going through the process of slow practice, intermitted with slower thought, of oscillating between craft and concept and paying attention to the reverberations, that I have managed to get anywhere at all.

— Russell Maret (b.1971)

or,

To inquire please click art@evokecontemporary.com

Please include title of artwork with your inquiry.

Russell Maret, Interstices & Intersections

An Autodidact Comprehends a Cube, 14” x 12” $27,500

Ken Rinciari

John Seed

Painting gives me the freedom to explore my own mind and forget about the world’s crushing problems. And when—after I am done—I realize that a particular painting has not turned out well, the trashcan is at my feet. It turns out that watercolor paper tears in half very easily, with a satisfying sound. And so, I begin again . . .

— John Seed (b.1957)