Palm Beach State College’s solo exhibition of Diane Arrieta’s work, “Misunderstood,” Sept. 15 through Oct. 16, deals with the plight of animals, ecosystems and their struggle with humans.
“Living off of consumer based, human-centric treatment of the planet for decades, we are now faced with real dilemmas affecting our basic health and well-being,” Arrieta says. “Unregulated abuse, habitat fragmentation, and urban sprawl are among the many problems that are fueling extreme weather patterns, climate change, unprecedented species extinction rates, and an increasing rise of infectious disease prevalence.”
Humans tend to think of nature as distant and not part of their everyday lives, she observes. Fast-paced lives rely on disposable items, fast-food restaurants and being confined in closed workspaces, which increase the gap between humans and nature.
“The most common misconception that we as humans have about nature is that it is not under control of humans. Once we intervene, it becomes part of our world.”
“Misunderstood” highlights some of the endangered species, the environmental and social issues surrounding their well-being; her work is based on the misconceptions and misunderstanding of these animals.
“We need to step up and be heroes for the environment. We can either be hero or villain when it comes to the planet,” she says.
Arrieta utilizes various printmaking techniques with cut vinyl, illustration, sculpture and animation. Her work has a distinct urban feel, with a style rooted in the comic book genre, but also has strong influences from artists like Robert Rauschenberg, Jasper Johns and Daisy Youngblood.
Gallery hours are 9 a.m. to 5 p.m. Monday, Wednesday, Thursday and Friday; and 9 a.m. to 8 p.m. Tuesday. The Art Gallery at Eissey Campus is located in the frst foor of the BB building, 3160 PGA Blvd. For more information, call the gallery at 561-207-5015.
A new exhibit that promises to warm the hearts of dog lovers opens Sept. 16 at the Art Gallery at Eissey Campus at Palm Beach State College in Palm Beach Gardens.
“Bark,” an all-dog exhibit, features the photographs, sculptures and paintings of Palm Beach County artists Durga Garcia, Victoria R. Martin and Nancy Spielman. The exhibition opens Sept. 16 with a reception from 5:30 p.m. to 8 p.m. and continues through Oct. 17. Both the reception and exhibition are free and open to the public.
“This body of work is to celebrate the comfort, joy, happiness and fun that dogs bring to our lives,’’ Nancy Spielman said. “My very first dog, Charlie, has affected my life in a way I never dreamed would happen. A yellow lab—I call him Handsome Man— is my inspiration to paint these lovable friends.”
Spielman takes photos of canines and uses them as a reference for her paintings. “I strive to heighten and improve the photographic model through the use of oil paint, elements of design and especially color.”
Durga Garcia, a conceptual photographer of fine art and commissioned portraits, will exhibit a portrait collection of working dogs. “Each conveys not only their handsome beauty and personality, but also their intelligence and alertness necessary for their various jobs,’’ she said.
For years, Garcia raised and worked Jack Russell Terriers in England. Now she handles the first year of training for guide dogs. A young guide dog is often seen with her during photo-shoots, events or lectures.
Victoria Rose Martin, a PBSC art professor, builds her sculptural forms by hand using low-fire clay. She says that is why no two figures will ever be exactly the same.
The surfaces are decorated with stamped words and a variety of finishes, including oxides, underglaze and glaze.
The art, ranging from $200 to $600, will be available for sale. Each artist will donate 20 percent of any sales to Furry Friends, a no-kill, nonprofit animal shelter or Canine Assisted Therapy (C.A.T.), a nonprofit organization dedicated to providing pet therapy to children and adults who have developmental and physical challenges as well as those who desire comfort and companionship of a loving pet.
Gallery hours are 9 a.m. to 5 p.m. Monday, Wednesday, Thursday and Friday and 9 a.m. to 8 p.m. on Tuesday. The Art Gallery at Eissey Campus is located on the first floor of the BB building, 3160 PGA Blvd. For more information call the gallery at 561-207-5015 or visit the website at: www.palmbeachstate.edu/artgallerypbg.
Palm Beach State College’s Art Gallery at Eissey Campus showcases works by Carin Wagner and Yvonne Parker in an exhibit, “The Nature of Impermanence,” from May 13 through September 5. The opening reception is at 5:30 p.m. May 13. The exhibit is free and open to the public.
Wagner’s paintings allude to the cycles of life and that nature and individuals are in a constant state of evolution and renewal. “Most of us are going along in our little world and don’t understand how fragile our environment is or how to protect it,” said Wagner.
Wagner records small moments in nature in order to share its peace. In her studio, she lays down many thin glazes of oil paint to create luminous deep surfaces on the canvas, to evoke the fragility of the natural world.
“From a glade filled with ferns golden in the evening light to a tiny flower blazing with fleeting glory, as time went by I realized how fragile all of this beauty was and felt I needed to protect it. I decided to paint my favorite trees- some towering in the midst of a storm, others quiet in moonlight- in the hopes that they would arouse the same protective spirit in others.”
Parker’s sculptures are about rediscovering elements of the past in order to create a vision of a more positive future. “Preserving time gone bye, by incorporating vintage or historic materials in my work, is my way of dealing with transformation and change,” she says.
“We live in a world of constant change, chaos, illness, disaster and loss. I want to create art to hold on to the beautiful memories of the past, while embracing the present and looking confident into the future.”
The exhibit takes place in partnership with the Friends of MacArthur Beach State Park. A percentage of proceeds from the sale of Wagner’s art will benefit the Friends’ environmental-education programs for underserved students. Sculptures, prints and large oil paintings will be on sale with prices ranging from $150 to $30,000. During the opening reception, the first 60 guests will receive black ironwood tree seedlings.
Summer gallery hours are 9 a.m. to 4 p.m. Monday through Thursday. The Art Gallery at Eissey Campus is located in the first floor of the BB building, 3160 PGA Blvd. For more information, call the gallery at 561-207-5015 or visit www.palmbeachstate.edu/artgallerypbg.
The Art Gallery at Eissey Campus at Palm Beach State College holds its annual juried student art show, the 28th Annual Student Art Exhibition now through May 7. The variety of work reflects the many art disciplines offered at the college: ceramics, digital and traditional photography, drawing, life drawing, applied and digital design and painting. Featuring 160 pieces in the exhibition, much of the art is available for purchase, with prices ranging from $20 to $1,000.
Kayla Morrill entered the world of photography with her struggles and pains clutched tightly to her chest and she used the lens of her camera to examine them from every angle, she said. “I spent years posing models to reflect the insecurities, the longings and the dreams that I was feeling at the time. One of the reasons I love Gloss and the other pictures in the Headless series is that they don’t, in fact, mean anything personal to me. It’s a sign of my own progress that I am finally able to look out at the world instead of always looking in.”
Carla Gia Larosa, from New York City, studied art and design at F.I.T. She moved to Palm Beach County five years ago and decided to go back to college. “There I discovered the wonderful world of ceramic arts. I am fascinated by pre-Colombian art and it has been my greatest influence,” she said.
Talya Lerman, this year’s curator of the show, graduated with a Bachelors in business administration, management from Northwood University. She is currently the director of education at the Armory Art Center in West Palm Beach. Previously, she was the tour and volunteer coordinator at the Norton Museum of Art and the director of public programs for the Palm Beach Institute of Contemporary Art. Both as an independent curator as well as affiliated with local non-profits, Lerman has been heavily involved in the South Florida art scene for over two decades.
Gallery hours are 9 a.m. to 5 p.m. Monday, Wednesday, Thursday and Friday; and 9 a.m. to 8 p.m. Tuesday. The Art Gallery at Eissey Campus is located in the first floor of the BB building, 3160 PGA Blvd. For more information, call the gallery at 561-207-5015.
Fourteen south Florida artists will exhibit their latest ceramic works at “SoFlo: On and Off the Wall” at the Art Gallery at Eissey Campus at Palm Beach State College February 18 to March 21. The opening reception will be from 5:30 to 8 p.m. on February 18.
Jupiter resident Chris Riccardo’s latest series of work is based on his long-time admiration of the Chinese war horses that were produced during the Tang Dynasty. He admires the Sancai glaze technique and has tried to emulate that.
“The idea that these horses were mass-produced hundreds of years ago instantly drew me to today’s mass-produced Chinese horses that we all know and love, My Little Ponies,” he says.
As he researched more about the Pony phenomenon, he came across a group of people who call themselves, Bronies.
“This subculture is made up of mostly men who find the series, My Little Pony, and the actual pony characters both happy and joyful and in some instances sexually attractive.
“So, I have tried to incorporate the history of the Tang horses with aspects of today’s mass produced toys and I hope to delve deeper into the Brony world which will be reflected in the new work to come.”
An interest in objects that serve a specific purpose motivates Justin Lambert of Jupiter to make functional pottery. He is also interested in how pottery can inherently initiate a certain situation with a single user and companion.
“It is through the grouping of particular pots that I am able to suggest a special moment to occur,” he said. “It is the interaction of my pots that lead to certain scenarios alluding to the ideas of companionship and solitude.”
Groupings of bottles or cups invite the viewer to slow down and take notice of the subtle diversities in form and the infinite variety of surface texture and color attainable through wood and soda firing.The scale of his work brings the viewer in close to examine the subtleties of form and surface, and creates a more intimate experience through its utilitarian qualities.
“The firing process I choose provides a direct interaction between the clay and the user,” he said. “My work is not covered with any glaze, rather the firing itself glazes the work, enriches the surface and brings out intrinsic color from the clay.” His investigation into high alumina clay bodies in both wood and soda firing leads his research. He reduction-cools these kilns to achieve deeper colors. The process allows him to explore a “palette somewhat unknown. Frosty, dry, movement rich glazed surfaces provide information for future work, and my careful analysis of surface to form integration provide insight to new formula’s and firing schedules.”
For Lake Worth resident, Victoria Rose Martin, the making of art is a spiritual thing.
“While sculpting, I zone out and it’s as if I make a connection to another place and time. In the small faces I can see members of my family, people and places, and even myself. The work tends to be whimsical or dreamlike with a slightly dark under current,” she said. “I want my pieces to evoke emotion.
“My sculptural forms are hand built using earthenware clay, and no two figures will ever be alike. The surfaces are decorated with stamped words, geometric shapes, and a variety of finishes, including oxides, underglaze, and glaze.”
SoFlo is a group of artists and educators working at institutions from Jupiter to Miami. The exhibitors are Deborah Adornato, Shannon Calhoun, Angi Curreri, Angel Dicosola, Nazare Feliciano, Rebeca Gilling, Bryan Hiveley, Judith Berk King, Justin Lambert, Victoria Martin, Chris Riccardo, Bonnie Seeman, Gerbi Tsesarskaia and Karla Walter.
The exhibit will feature 40 pieces of sculptural and functional work, each offering a perspective of current trends in south Florida. Both the reception and the exhibit are free and open to the public. Artwork will be available for purchase. Prices range from $200 to $6,000.
The gallery is located in the Palm Beach Gardens campus’ BB building, Room 113 and hours are 9 a.m. to 5 p.m. Monday, Wednesday, Thursday and Friday and 9 a.m. to 8 p.m. Tuesday.
A former book editor and designer, trained in a variety of artistic fields from Fine to Folk and Experimental art, Li Hongbo plays with the appearances and connotations of paper. The material is to him an endless source of inspiration and interpretation. Li Hongbo observed that honeycomb paper is a folk art present in many aspects of life in China, from children’s toys to festive decorations. Dismantling one such object, he discovered how simply it is made and the amazing flexibility, resilience and strength of the paper material once built into layers of hexagonal cubes. The artist reproduces the mechanical process manually, making it a painstaking craft, which requires a whole new level of perfection to achieve the machine made rendering. The thousands of layers of brown paper are cut, folded and glued together to look just like what they originated from: wood. The artist then carves the block of paper as if he was sculpting wood. Common brown paper, usually associated with wrapping and meant to be discarded, is then interpreted in shapes of much more valued objects, such as a pair of porcelain vases or even human figures, to give it a whole new significance.
A married couple Korean U joo and Lim Hee Young , are engaged in quite an original artistic work. They exercise their imaginations through a variety of forms of visual expression, including kinetic sculpture, drawing.
Tony Oursler is known for his fractured-narrative handmade video tapes including The Loner, 1980 and EVOL 1984. These works involve elaborate sound tracks, painted sets, stop-action animation and optical special effects created by the artist. The early videotapes have been exhibited extensively in alternative spaces and museums, they are distributed by Electronic Arts Intermix.His early installation works are immersive dark-room environments with video, sound, and language mixed with colorful constructed sculptural elements. In these projects, Oursler experimented with methods of removing the moving image from the video monitor using reflections in water, mirrors, glass and other devices. For example, “L-7, L-5”, exhibited at the Kitchen NYC 1983, used the translucent quality of video reflected on broken glass.
Oursler began working with small LCD video projectors in 1991 in his installation “The Watching” presented at Documenta 9, featuring his first video doll and dummy. This work utilizes handmade soft cloth figures combined with expressive faces animated by video projection. Oursler then produced a series of installations that combined found objects and video projections. “Judy”, 1993, explored the relationship between multiple personality disorder and mass media. “Get Away II” features a passive/aggressive projected figure wedged under a mattress that confronts the viewer with blunt direct address.
Signature works have been his talking lights, such as Streetlight (1997), his series of video sculptures of eyes with television screens reflected in the pupils, and ominous talking heads such as Composite Still Life (1999). An installation called Optics (1999) examines the polarity between dark and light in the history of the camera obscura. In his text “Time Stream”, Oursler proposed that architecture and moving image installation have been forever linked by the camera obscura noting that cave dwellers observed the world as projections via peep holes.
This year, I went to see Art Basel. Not to write about it, but, I couldn’t help myself. As I learned more about what I saw, I wanted to share the information.
Walking-around-time was limited, and I could not talk to gallery owners who were busy talking to real customers. So here’s what drew my attention, coupled with bits of bios cut and pasted from here and there….
Guyton and Walker are two New York artists who collaborate to deliver visual pop and sculpture.
“One day, we were approving the tufting designs and mattress tape for our prototypes, the next day this old family from New Jersey that made them was out of business—100 years, then two mattresses with us and gone. They made them by hand and we haven’t found anyone with comparable skills. Who knew buttonless tufting was such a rarified technique?”
In any case, just because they will be featured in a gallery doesn’t mean they aren’t still suitable for sleeping or hanging out on. Or, as GuytonWalker says, “They’re meant for use! Meant for life!”
Nir Hod, Once Everything Was Much Better Even The Future, Paul Kasmin Gallery
The sculpture consists of a moving scale model of an oil pumpjack encased within a large globe of oil, creating a world suspended in time, where the contradictions inherent in oil production and consumption peacefully coexist, while also alluding to the nostalgic scenes often depicted in snow globes. Hod, from Tel Aviv, lives and works in New York.
James Naras was born in London; lives and works in New York. His paintings and projects seek to capture the very moment of their own creation. They are most frequently made in a single brushstroke, recording a gestural passage of time and motion across the canvas. Using brushes of his own design, he repeatedly creates and erases his strokes until he feels he has made one that represents a precision of balance between intent and improvisation.
Nares’ films and videos reference many of the same preoccupations with movement, rhythm and repetition, while also ranging further afield in their scope. To see this in motion, click here.
Wentworth lives and works in London. His work encircles the notion of objects and their use as part of day-to-day experiences. By transforming and manipulating industrial and/or found objects into works of art, Wentworth subverts their original function and extends our understanding of them by breaking the conventional system of classification. The sculptural arrangements play with the notion of ready-made and juxtaposition of objects that bear no relation to each other.
In 1996, Will Cotton began to develop an iconography in which the landscape itself became an object of desire. The paintings often feature scenery made up entirely of pastries, candy and melting ice cream. He creates elaborate maquettes of these settings from real baked goods made in his Manhattan studio as a visual source for the final works.
Erika Verzutti; Venus Major, Venus Yogi, Venis Aluna; Galerie Peter Kilchmann
Erika Verzutti is interested in the formal qualities of things found in nature, and her work reveals the beauty and symbolic power of common objects with enigmatic properties. The intuitive and material qualities of Verzutti’s sculptures, collages, drawings and paintings recall the mid-20th-century Neo-Concretist movement in her native Brazil, which rejected mechanized and overly intellectual approaches to art making in favor of a sensual, intuitive relationship between the artist and the object.
Mixed-media Chicago artist Tony Tasset sends up Americana and the American dream in his sardonic, psychedelic sculptures, installations, films and photographs, which he describes as “Pop Conceptual.” These include a giant Paul Bunyan with uncharacteristically drooping shoulders; trompe l’oeil snowmen and smashed jack-o-lanterns; abstract compositions on panel of colored blotches spilling from various consumer products and fast foods; and a grotesque, cartoonish figure composed of hotdogs. Citing Norman Rockwell and Walt Disney as influences, Tasset aims to tap into and twist iconic American imagery, asking: “Could I take something that’s so banal, so quoted, that everybody has kind of made, and could I treat it like a Giacometti? Could I give it that pathos and existential angst?”
The work titled, Notions of Narrations II is a continuation of Rashid Rana’s most recent “Transliteration Series.‟ In this series, Rana selects a random image from one time and place in history, cuts it into pieces and reassembles it together, forming another image from another time and place. By doing so, he creates an unusual relationship between both, a method which he refers to as visual transliteration.
In Notions of Narrations II, a famous painting by Rubens, Rape of the Daughter of Leucippus has been digitally sliced and its micro fragments scrambled in mixed order. The macro image is not easily recognizable as a known image in this case; however, the emblematic figurative objects within it hint towards a bold narrative involving the entanglement of both violent and carnal acts. Although the original image Rana uses is from an older period in time, it is not dissimilar to modern notions of the same. The process of pixilation aids in transcending the immediate/local link, thus, a relationship is established between both the composite image and constituent fragments.
Shilpa Gupta, I look at things With Different Eyes From Yours, Chemould Prescott Road
Soap, microphones, sign hoardings, books: these are some of the familiar materials that Shilpa Gupta uses to engage audiences with wider and deeper issues. The artist also has a background in graphic design, and she has an ability to transform mundane imagery into something more profound. In her 2009 work Threat, Gupta created a sculpture with 2,400 bars of soap, engraved with the word ‘Threat.’ The audience was invited to take a bar of soap away and use it, washing away any trace of any imagined threat by the end of the exhibition. Fear is a tool often used to manipulate groups of people in power struggles, and Gupta’s works often harness participation and interactivity, shaking up our ideas about why we are asked to act the way we do.
In this piece, which includes a print on a mirror framed by an embroidered curtain on a metal rod, I took away an image of myself with my friend Mike, standing in the background…
Paulo Nenflídio constructs absurd machines and sound sculptures. His work hovers at the interface of art, dream and science. In a symbiosis of elements taken from everyday contexts, digital technology and art historical references, the artist has devoted himself to interdisciplinarity.
“I am more interested in the intricate social relationships, the exchange of behaviors that in time serves to alter our perception of the quotidian, the every day,” said Brazilian-based artist Laura Lima. She is primarily concerned with the human body, using it to question our relationship to the objects, people, and society and raising questions about the tensions between the individual and the collective body.
Smit’s reference to the end of the world can be understood as an end of ‘the-world-as-we-know-it.’ His use of the same face repeated, once again repatriates original identity. Smit’s work indicates this model crisis, this state of the accumulation of disorder, as the end of the individual remodeled in the wake of global consumerism. Smit’s work signifies identity and the human condition surpassing time and history.
There was quite a crowd in this booth. Here’s why.
Enrique Gomez De Molina is a taxidermy artist from Miami, Florida. He gained recognition for his taxidermy for a few reasons. He created very unusual creatures when he mixed parts from several animals. And more notably, De Molina was sentenced for wildlife smuggling and is currently in prison.
De Molina used connections he had in several countries worldwide to illegally acquire and import both living and dead animals. He acquired animals that were on the endangered species list to create his art. In addition to a 20-month jail sentence, De Molina also received a $6,000 fine, one year’s probation, and he must forfeit all smuggled wildlife in his possession.
Jennifer Trask, Double Blossom Queen Anne’s Lace Object, Sewing needles, python and rattlesnake ribs, Lisa Sette Gallery
“My curiosity about the intrinsic nature of things, of materials and my interest in biology is paramount. What is written in the bones? Meaning, what desires, ideals, motivations do we carry silently?”
Angela Ellsworth, Seer Bonnet XIX, 24,182 pearl corsage pins, fabric, steel, wood at Lisa Sette Gallery
Angela Ellsworth is an American multidisciplinary artist whose paintings, drawings, installations
and performances explore the female body in its various contexts and constraints. Her work considers subjects such as physical fitness, endurance, social ritual, religious tradition, performance art and American Colonial history. Ellsworth’s ‘seer bonnets: a continuing offense’ (2009-2010) refers to her rejected Mormon heritage presented through a series of antiquated pioneer women’s bonnets, constructed out of thousands of pearl-tipped corsage pins embedded into fabric with their points directed inwards. the small, fetish-like objects not only refer to the tradition of craft work in the home – women’s work – but also stand as disembodied memorials to the lives suffering cruelty, submission and control.
“We create works in response to the ever bleakening relationship linking humans, technology and nature. These works feature an ambiguous narrative that offers insight into the dilemma posed by science and technology’s failed promise to fix our problems, provide explanations, and furnish certainty pertaining to the human condition. Strange scenes of hybridizing forces, swarming elements, and bleeding overabundance portray Nature unleashed by technology and the human hand.
“Rich colors and surrealistic imagery merge to reveal the poetic roots of the works on display. The use of color is intentional but abstract; proportion and space are compositional rather than natural; movement is blurred; objects and people juxtaposed as if by chance in a visual improvisation that unfolds choreographically. At once formally arresting and immeasurably loaded with sensations, this work attempts to provide powerful impact both visually and viscerally.”
A co-founder of the Intermedia Program at the University of Iowa in the late 1960’s, Hans Breder was a teacher. He was also artist Ana Mendieta’s lover (1948-1985). He took many of the photographs documenting her early performances in Mexico and elsewhere, images that are among the strongest in her Whitney retrospective. Indeed, a full understanding of Mendieta’s career must take into account the collaborative aspect of that early work.
That said, there’s clearly a difference between the two artists. Several photographs from Breder’s ”Ventosa” series (1973), for which Mendieta served as a model, are at Algus, and one is at the Whitney. In them, she lies nude in the surf on a beach in Mexico, holding a large polished steel mirror that hides her torso but reflects her lower body, leaving her figure truncated, headless and composed of four splayed legs. Breder has since made other photographs using mirrors; examples at Algus date from this year. Also, he photographed women in a wooded section of Iowa where he documented several of Mendieta’s performances.
Zhao Kailin’s more recent work has concentrated on depicting beautiful, introspective young women, most of whom are Asian and dressed in traditional Chinese attire. Several feature females with musical instruments. These paintings capture the essential aura of young women suspended between the innocence of childhood and the smoldering sexuality of womanhood, evoking a sense of longing, dreams and desire.
“Every painting I do involves personal stories and memories,” Zhao explained. “I am always striving to communicate not only the beauty and unspoken personal narratives of these women, but also the inherent beauty of Chinese culture and life.”
Pedro Friedeberg, Gold Side Table, Todd Merrill 20th Century Studio Contemporary
“I was born in Italy during the era of Mussolini, who made all trains run on time. Immediately thereafter, I moved to México where the trains are never on time, but where once they start moving they pass pyramids.
“My education was first entrusted to a Zapotec governess and later to brilliant mentors such as Mathias Goeritz, who taught me morals, José González, who taught me carpentry, and Gerry Morris, who taught me to play bridge.
“I have invented several styles of architecture, as well as one new religion and two salads. I am particularly fond of social problems and cloud formations. My work is profoundly profound.
“I admire everything that is useless, frivolous and whimsical. I hate functionalism, post modernism and almost everything else. I do not agree with the dictum that houses are supposed to be ‘machines to live in’. For me, the house and it’s objects is supposed to be some crazy place that make you laugh.”
Arno Elias was born in Paris, France. He is a multi-talented musician, painter and photographer, known for his compositions of Buddha Bar music. His creative talents did not stop at his musical career, but continued to his artistic career, leading him into the world of painting and photography. Studying the European contemporary artists from the 60s and 70s and the American Pop Art movement inspired Elias.
His focus is to travel the world and continue the journey. He is particularly passionate about endangered species and the lives of indigenous people, who are connected to the environment and depend upon its natural resources for survival.
Mark Jenkins is a sculptor and installation artist whose work focuses on urban themes and often locates itself within this physical context. The artist invented the technique of casting objects using packing tape and plastic wrap. With it he has created a range of characters from clear ducks, dogs and babies to clothed hyper-realistic anthropomorphic beings molded from his own body and that of his partner Sandra Fernandez. He describes his work as “absurdist” and with the idea to “to create situations that turn the world into a stage.” He currently lives in Washington, DC.
Ten contemporary South Florida artists will feature their latest multimedia works in an exhibit, “No Boundaries,” Sept. 17 to Oct. 11 at the Art Gallery at Palm Beach State College’s Palm Beach Gardens campus. An opening reception will be held from 5:30 to 8 p.m., Sept. 17.
The internet, digital technology and digital media have become a vast playing field in terms of areas for artists to explore, said Lake Worth artist Sibel Kocabasi, and while she’s interested in those developments, she has reservations. “There is an issue concerning how one might collect and archive digital art. I have created my own strategies in order to deal with new media works. I am using found photography and found objects for my own mixed media with a very simple camera as a recording device,” she said, explaining that she is not attempting to define a new artistic medium, but to explore new avenues.
“This approach, which is new to me, allows directness with a relatively short time from concept to a viewable image, in contrast with my oil paintings,” she said. “The subject matter are the recurring themes that interest or trouble me in my daily life, such as the human impact on the environment ( including wild animals), patriotism, nationalism, war, women issues, and contemporary farming methods.”
Amy Gross of Delray Beach creates embroidered and beaded fiber pieces that merge the natural observable world with her inner life. “I’ve always been attracted and frightened by things that are in their fullest bloom but on the verge of spoiling,” she said. “There’s such beauty and sadness to them, heightened by the undeniable inevitability of their ending.”
She started mining nature and finding elements in it that paralleled her private world, of life merging into life that manipulated and altered each other. “My elements mimic both the microscopic and the visible. They grow, take over, cling, and climb, much like those intricately odd plants and spores and insect life along paths and under rocks, those microcosms underfoot.
“My rule is that my objects are not corporeal, they’re imitation. They do not die. They diagram stages of decay and change, but they don’t demonstrate them. They’re a fantasy of human control, impossible but imperative. My making these things will not stop time, but hold things still, selfishly, for a little while.”
“Le Mer” is West Palm Beach resident Cheryl Maeder’s short film from her “Dreamscapes Series” that were inspired by her childhood visits to the ocean.
“I would sit in the back seat, windows open, breathing in the salty ocean air. This was freedom and magic to me. Now, years later, the ocean still has this effect on my senses. I come alive just being near the sea. Celebrating the music and dance of the ocean, I have created “Le Mer.”
Maeder uses the paintbrush to convey the world as in a photograph, and she, as a photographer, uses her camera as an instrument to convey the world through painterly eyes. “Part color-field painter, part impressionist and part abstractionist, I want to convey to the viewer the world we see is part of a larger reality. What appears to be clear and in focus is only our perception,” she said.
Both the reception and the exhibit are free and open to the public. The exhibit is curated by Karla Walter, art gallery specialist at the Palm Beach Gardens campus. “This collection of talented and visually compelling South Florida artists brings a new vibe to the gallery at Palm Beach State College,” Walter said. “When choosing the pieces for ‘No Boundaries,’ I focused on artists who worked with multiple disciplines, each bringing their own unique take on multimedia in today’s art scene.”
Palm Beach State College’s Palm Beach Gardens campus is at 3160 PGA Blvd. The Art Gallery is located in the BB building, Room 113. Hours are 9 a.m. to 5 p.m. Monday, Wednesday, Thursday and Friday and 9 a.m. to 8 p.m. on Tuesday. For more information, contact Karla Walter at (561) 207-5015 or visit http://www.palmbeachstate.edu/artgallerypbg/current-exhibition.aspx
Betty Wilson, owner of the Craft Gallery, says “thank you” to all her artists, friends, clients and family who’ve helped her at her gallery. She sent out an invite for pieces of art to exhibit at a special show, “Cup Runneth Over Exhibition and Party,” Friday, Aug. 23 from 5:30 to 8 p.m., and here are some examples of works you’ll see.
Joan Carew of Coral Springs notes she’s forced to create. “There is a force within me that compels me to work in clay. I don’t know where it comes from or what direction it will point me in.” Her latest clay obsession has to do with textures, but all aspects of the process are vital and meaningful.
“My current work deals with my life’s journey,” Carew says. “So the pieces are a narrative of sorts, humorous, profound, inane and cherished. I love to introduce found pieces of lost treasures and nature into the finished piece.”
West Palm Beach photographer Durga Garcia will show her travel landscape work in this show. “I love to travel, learn the history of an area, get to know local people, hear their stories and the discover ways to give the viewer of my images the feel of a place,” she says. ” I am very excited and lucky I will be leading photo tours to Iceland and Italy in 2014, and starting this fall I will be teaching at the Armory Art Center in West Palm Beach with photographing art, travel photography and photography classes.”
Victoria Rose Martin of Lake Worth says the color, the faces and quirkiness of her work make her smile and remind her of her childhood. “My work is always about childhood memories. I am one of 11 kids, and we were absolutely mad, running like animals, playing in fields of tall grass, swimming in the lakes and rivers of northern New York. My pieces are about relationships and friendships, the good and the bad.
“Being from such a large family, I didn’t just get hand-me-downs; they were usually handed down from one kid to the next, mismatched and worn thread bare.”
The celebration will also feature live music, a glass demonstration with a torch, and refreshments. The Craft Gallery is at 5911 South Dixie Hwy., West Palm Beach. For information, call (561) 585-7744.
At Palm Beach State College, the Palm Beach County Art Teachers Association will feature its art educators in an exhibit, “Artistic Endeavors,” May 14 through September 6 with an opening reception on Tuesday, May 14 at 5:30 to 8 p.m.
Tequesta resident Kim Pilla, who has taught in Palm Beach and Martin counties for 14 years, is currently an art educator at HOPE Centennial Elementary School. She works in various art media, but has an obsession for photography that started in a little makeshift darkroom as a 7th grader at Jupiter Middle School.
The subject she chose for this exhibit, the 7th-century Gothic Whitby Abbey, is located on the northeast coast of North Yorkshire on the North Sea.
As she walked around it, she was moved by the energy she felt there. She had cameras with her, but she especially loved the effects she produced with an iPhone app. Black and white photography is her first love, and she hoped to capture the details and light of the abbey at sunset.
Brian Kovachik of Juno Beach uses the words “usefulness, interaction, sharing, involvement and history” when he speaks about his work, which is made on the potter’s wheel in various stoneware clay bodies exposed to wood firing processes.
“The emergence of earth tones in colored glazes and slips address visually a relationship between the vessels and the origin of the material,” he said. “There is an immense connection with the past, present and future that I find very gratifying.”
From ancient eastern methods of wood firing to modern day wood firing, this process connects a community of potters with the past, he said. Though formed and manipulated to serve a purpose, he strives to create artistic pieces that create connection and also give their users pleasure. “My works are intended to be used in common everyday rituals such as eating meals, socializing, and aesthetic enjoyment. I receive gratification from taking form, function, and comfort into consideration as I create works that will connect the user and myself for many years.”
Bonnie D. Bruner of Palm Springs said her interest in photographic art began with her mentor, Jerry Uelsmann. “It was his experimental style of photography that encouraged me to take the image a step further.
“My artistic challenge is to capture what I see with my camera and transform that photo into my own original work of art. I am always thinking composition, color and shape, as I observe the world through my lens.”
Gallery Hours are 9 a.m. to 4 p.m. Monday through Thursday. For information, call (561) 207-5015. The Art Gallery at Eissey Campus is at Palm Beach State College, 3160 PGA Boulevard, Palm Beach Gardens. The Art Gallery is located in the BB building.