About


Con­tact Sam at info@samvokey.com

ABOUT

Sam Vokey is an oil painter who spe­cial­izes in land­scapes and still life’s and com­mis­sioned cus­tom paintings.

Sam has been a suc­cess­ful artist for more than 25 years. He is an elect­ed mem­ber of The Guild Of Boston Artists and has won the des­ig­na­tion of Cop­ley Mas­ter from the Cop­ley Soci­ety of Boston. He is a grad­u­ate of Bow­doin Col­lege in Maine and Mid­dle­sex School in Con­cord, MA

He attend­ed the R.H.Ives Gam­mell Ate­lier in Boston for four years. This was a Euro­pean style ate­lier schol­ar­ship pro­gram that only admit­ted 5 stu­dents at a time. Those stu­dents worked close­ly with a mas­ter painter to learn the fun­da­men­tals of paint­ing still life, land­scape, por­trait and fig­u­ra­tive work. 

His paint­ing style is most close­ly asso­ci­at­ed with the Boston School tra­di­tion of paint­ing which cross­es Real­ism with some of the soft­er edges and painter­ly qual­i­ties of Impres­sion­ism. Vokey’s still life’s and land­scapes demon­strate a strong con­sid­er­a­tion for cre­at­ing bal­ance between the over­all com­po­si­tion and the light and dark val­ues in his paintings.

CURRICULUM VITAE

Born

b. 1963

Edu­ca­tion

Bow­doin Col­lege BA cum laude with a major in Eng­lish Lit and a minor in Stu­dio Art. The R. H. Ives Gam­mell Ate­lier, Boston. This was a four year schol­ar­ship pro­gram where stu­dents worked close­ly with a mas­ter artist to learn the fun­da­men­tals of draw­ing and then paint­ing still life, land­scape, por­trait and fig­u­ra­tive work from life.

Awards and Honors

2012 The Frank Ben­son Award at the Guild of Boston Artists

2009 The Edmund Tar­bell Award at the Guild of Boston Artists

2006 The R.H. Ives Gam­mell Award at the Guild of Boston Artists

2001 The Edmund Tar­bell Award at the Guild of Boston Artists

2004 Award­ed the sta­tus of Cop­ley Mas­ter at the Cop­ley Soci­ety of Boston

2007 Award­ed the John Sin­gle­ton Cop­ley Award — the high­est hon­or giv­en by the Cop­ley Society

2006 The Cape Cod Muse­um of Art acquired a Vokey still life for their per­ma­nent collection.

2015 The Smuck­ers Com­pa­ny acquired a Vokey still life for their per­ma­nent collection.

Select­ed Exhi­bi­tions and Events

2019 Let there Be Light — Three-per­son show at Tree’s Place, Orleans, MA.

2019 Cop­ley Mas­ters Show, Cop­ley Soci­ety, Boston , MA.

2018 Solo Exhi­bi­tion at Guild of Boston Artists called “Water and Light” 30 orig­i­nal oil paint­ings. Includ­ed an artist demonstration.

2017 Nation­al Mar­itime Show- “At Sea” at the Cop­ley Soci­ety of Boston. Juried by John Sto­bart and Rus­sell Jinishian 

2016 Plein Air Influ­ences — four per­son land­scape show at Tree’s Place, Orleans, MA.

2016 Robert Dou­glas Hunter and his Stu­dents-group show,Bryan Memo­r­i­al Gallery, Jef­fer­son­ville, VT.

2015 Sumer Delight — two per­son land­scape and still life show at Tree’s Place, Orleans, MA.

2013 Solo Exhi­bi­tion “Thir­ty New Paint­ings” at Pow­ers Gallery, Acton, MA land­scapes and still life.

2011 Solo Exhi­bi­tion at Pow­ers Gallery, Acton, MA.

2009 Solo Exhi­bi­tion at Pow­ers Gallery, Orleans, MA.

2009 Solo Exhi­bi­tion at the Guild of Boston Artists, Boston, MA.

2005 Cov­er Artist — Amer­i­can Artist Mag­a­zine. The Pow­er of Design arti­cle by Lin­da S. Price.

2003 Cape Cod Arts Foun­da­tion, Pops By The Sea fea­tured artist and cov­er artist, Hyan­nis MA.

2002 Solo Exhi­bi­tion at Tree’s Place, Orleans, MA.

2002 Pow­ers Gallery — Group still life show.

2001 “Patrons Choice” Invi­ta­tion­al group show at the Cop­ley Soci­ety, Boston MA.

2000 Solo Exhi­bi­tion at Tree’s Place, Orleans, MA.

1999 Group show of Fen­way Stu­dio Artists at Vose Gal­leries, Boston, MA.

1999 “New Eng­land Impres­sions” Invi­ta­tion­al Group show at the Har­vard Club, Boston.

1998 “New Eng­land Impres­sions” Invi­ta­tion­al group show at the Attle­boro Muse­um, Attle­boro, MA.

1997 Group Show of the R.H.Ives Gam­mell Ate­lier Students,Brockton Muse­um of Art, Brock­ton, MA

1997 Group Show of the R.H.Ives Gam­mell Ate­lier Stu­dents at the St Botolph Club, Boston, MA.

1996 Solo Exhi­bi­tion at Mid­dle­sex School, Con­cord, MA.

Select­ed Bibliographies

The sub­ject of an arti­cle in the Cape Cod Chron­i­cle and Cape Cod Life Magazine

Amer­i­can Artist Mag­a­zine. The cov­er artist of the April, 2005 issue and the sub­ject of the arti­cle writ­ten by Lin­da S. Price.

The Boston School book pub­lished by Blue Tree Press in asso­ci­a­tion with an exhi­bi­tion at The Banks Gallery, Portsmouth, NH. Cov­er artist.

The Boston Bar Jour­nal cov­er artist for many issues including 

Amer­i­can Art Review. Includ­ed in many arti­cles includ­ing the Stu­dents Of Robert Dou­glas Hunter arti­cle 2018, 

Amer­i­can Art Col­lec­tor — Artist Focus — Octo­ber 2013 

Amer­i­can Art Col­lec­tor. Includ­ed in sev­er­al arti­cles includ­ing the review of the Tree’s Place show “Pre­cise and Painter­ly”. July 2015, issue 117.

Pro­fes­sion­al Affiliations

The Guild Of Boston Artists — elect­ed member.

Pow­ers Gallery, Acton, MA.

Tree’s Place, Orleans, MA.

Boni­ta Gallery, Portsmouth, NH.

The Cop­ley Soci­ety Of Art — Cop­ley Master.

Bayview Gallery, Brunswick, ME.

Patri­cia Hut­ton Gallery, Doylestown, PA.

Amer­i­can Soci­ety of Marine Artists

COLLECTIONS:

In 2006, one of Vokey’s still life paint­ings was acquired by The Cape Cod Muse­um of Art for the per­ma­nent col­lec­tion. His paint­ings can be found in numer­ous cor­po­rate and pri­vate col­lec­tions includ­ing Boston Pri­vate Bank, Bank of Amer­i­ca, Mer­rill Lynch, AT&T, Blue Cross Blue Shield, Lib­er­ty Mutu­al, Mered­ith and Grew, Mar­riott Hotels, and The Smuck­ers Com­pa­ny. Hen­ry Kravis of KKR & Co. attend­ed a show and bought 2 paint­ings. Vokey’s paint­ings can also be found in pri­vate col­lec­tions nation­al­ly and inter­na­tion­al­ly includ­ing the pri­vate col­lec­tion of a Unit­ed States Sen­a­tor and the for­mer Pres­i­dent of Ire­land and the for­mer Pres­i­dent of Uruguay. Boston Col­lege and Mid­dle­sex School have both acquired his work.

ARTIST STATEMENT

My goal is to ignite human imag­i­na­tion and to stim­u­late thought and emo­tion by engag­ing my view­er in the land­scape that I observe.

When I make a paint­ing I am most inter­est­ed in cre­at­ing a design that will cap­ti­vate the eye of the view­er and draw them into my world. Col­or, form and draw­ing are all impor­tant in con­jur­ing my impres­sion of real­i­ty but adding all this to a struc­ture of design that is strong in bal­ance and rhythm cre­ates a uni­fied expres­sion of visu­al power. 

I strive for accu­ra­cy and truth in my work but not the truth of cap­tur­ing every detail like in a pho­to­graph. Instead, I am inter­pret­ing what I see and using the paint to imply detail. This is a more impres­sion­is­tic approach and I believe that it is a way to engage the audi­ence because the view­er is col­lab­o­rat­ing with the artist by fill­ing in the details with their own mind.

The rhythms and sub­tleties that I observe in nature are the qual­i­ties that I want in my work . I think in terms of build­ing a paint­ing in lay­ers of abstract shapes — pat­terns and rhythms that repeat in a vari­ety of dif­fer­ent but sim­i­lar ways. In this way a paint­ing can devel­op into some­thing with depth and weight that has the essence of Nature in the paint.