Ben Evans’ neo-noir, campy, Los Angeles house paintings reflect the artists’ output of visual stimulation he’s gathered from a rolodex of iconography that is meaningful to him. Whether it be Shelley Duvall, Slim Aarons’ pool photographs, or moms from his hometown “leasing their white Mercedes” the rolodex of imagery creates a visual language in the works unlike anyone else.

The flat colors and oftentimes extreme lighting in the works add to the drama and bluntness of the large-scale paintings. “All the figures I paint are of friends and people who mean so much to me. But I also think that a lot of it is the divine femininity within myself.” Be it religious emblems or glamorous isolation, Evans considers himself a “conductor of imagery.”