Jacopo Ceccarelli A.K.A. 2501 was born in Milan in 1981. He started painting when he was 14 and he never gave up working on the walls of his hometown as a street artist.
He first studied as a film editor at the “Civica Scuola di Cinema” of Milan. He then attended a master program on visual communication at New Bauhaus University in Weimar, Germany. At the age of 20 he moved to São Paulo where he joined a project in local favelas teaching children to paint. Here he got in contact with the South American graffiti school based on Os Gemeos, Herbert Baglione, Higraff, Zezao, and many others’ work. That experience totally changed his approach to paint.
First with the tag of Robot Inc, and then as 2501, he developed a new style which combines wallpainting, paint on canvas, sculpture, installation, photography, video, and documentary. Back in Milan between 2004 and 2007, he became a member of llloolll studio where he mainly worked on web design, motion graphics, and advertising. In 2007 he moved again to São Paulo to focus on his fine art career.
He's participated in several solo and group exhibitions and his work has been published in many books about street art. In order to widen his scope, he is currently working on an ongoing project called “Nomadic Experiment," which involves different media, with an interest in moving images and the narrative potential of photography and video and is aimed at recording a different documentation of the creative process behind his work. This interdisciplinary character of his research truly mirrors his approach to life and knowledge.
He currently lives and works between Milan, the U.S., and South America.
2014 “Friends and Family” group show. Yo<3 305 Gallery. Miami - USA
2014 “Involving Doubt” double solo show. 2501 - Francesco Igory Deiana. D406 gallery. Modena - Italy
2014 “Nomadic Experiment – Tons of Tools” solo show at Product81 gallery. Miami - USA
2014 “Artmossphere” group show. Biennale of Street Art. Moscow - Russia
2014 “CONSEQUENCES EXHIBITION” group show. Hoxton Gallery. London - UK
2014 “The Anatomy of Restlessness” solo show. Soze gallery. Los Angeles - USA
2014 “Cash, Cans & Candy" double show 2501-Know Hope at Ernst Hilger Gallery Vienna - Austria
2014 “Space//Squared" group show curated by Sven Davis. Whitewalls gallery. San Francisco - USA
2014 “Brandalism” group show. 10 UK cities. UK
2014 “Hall of Fame” group show and no-profit auction. Macao. Milan - Italy
2014 “Art is Real - Una collezione impermanente” Edificio storico piazza Pasquino 69a. Rome - Italy
2013 “Mirrorless Project” Wynwood. Miami - USA
2013 “Immagini d'Io" group show and Christies no profit auction on Alessandro Mendini’s portrait. Triennale di Milano. Milan - Italy
2013 “Friends and Family” Yo<3 305 Gallery. Miami - USA
2013 “Bird’s Eye View” group show curated by Birdman. Thinkspace Gallery. Los Angeles - USA
2013 “Preto e Branco” double solo show. Tag and Juice gallery. São Paulo Brazil
2013 “Short Theatre” solo show. Macro museum. Rome - Italy
2013 “On the Wall” group show. Palazzo Collicola Arti Visive. Spoleto - Italy
2013 “Back 2 Back to Biennale” group show. 55th Biennale of Venice. Italy
2013 "See You On The Other Side" solo show. Soze gallery. Los Angeles - USA
2013 “Garten” Art Kitchen and Superground. Milan - Italy
2013 "Vajrapani" Elastico studio gallery. Bologna - Italy
2012 “Graffuturism" group show. Soze gallery. Los Angeles - USA
2012 “Comon event” sculptural installation. Archeological Museum. Como - Italy
2012 "Back and Fourth” solo show. Tag and Juice gallery. São Paulo - Brazil
2011 "Veicolo Adamantino" solo show. The Don gallery. Milan - Italy
2011 “Doppleganger”double solo show 2501 - Akab. XL- Combine. Milan - Italy
2011 "The 666 Dollar" Blackbook gallery. Denver - USA
2011 "Massive Nutz" Lower Hater gallery. San Francisco USA
2010 "Infart 2010” group show. Bassano del Grappa - Italy
2010 "Doubletruble" Galo art gallery. Turin, Italy
2010 "Edition" group show. The Don gallery. Milan - Italy
2010 “FAces” solo show. Oioioi gallery. St. Petersburg - Russia
2010 "Painkiller" solo show. Tag and Juice gallery. São Paulo - Brazil
"Untitled" (triptych), 60 x 126 in. each, mixed media on canvas
"Egg #2", 7.5 x 6 x 6 in., ink on ceramic
In the early stages of his career Antoni Amat's work reflected the strong influences of his birthplace, Barcelona, and the discovery of Spanish titans like Goya, Dali and Picasso. At the age of fifteen, he had his first exhibition and throughout his early career the influence of Surrealism was strong. The Mediterranean landscape, its light, colors and textures, still appear prominently in Amat's mature work, which veered away from Surrealism in the 80s.
His strong gestures and heavy application of paint and other materials onto wood, linen and canvas that evolved in the last decades have come to be known as the artist's signature. Along with his personal style of painting, the personal mythology of Amat's work has grown too.
Going deeper than the landscape, the Earth's surface has been ruptured and all the internal workings are shown. Hot magma, precious stones, gases, minerals, mud spill out onto the surface through cracks and holes in the composition. Dense worlds once hidden have been revealed. In large format paintings as well as sculpture this particular style of work is unique to Amat.
Amat's works are regularly exhibited in the Maeght Gallery in Barcelona, Spain, as well as in other art galleries in Madrid, Mallorca, USA, Germany, and Italy. He's featured in museums, private foundations and private collections all over the world.
SELECTED SOLO EXHIBITIONS
2014 10 years of the Glass of Verdú, Cal Talavero Art Center, Lleida, Spain
2014 Collection of Islands, works on paper, Masters Art, Palama de Mallorca, Mallorca, Spain
2014 Works, Nina Torres Fine Art, Gallery Miami, FL. USA.
2013 Pula Galerie, Son Servera, Mallorca, Spain
2012 Works, Galerie Maeght, Barcelona, Spain
2011 Mit aller Kraft, Galerie Per-Seh, Hannover, Germany
2011 Silence footprint, Galerie Van Dyck, Gijón, Spain
2010 Works, Etra Fine Art GalleryMiami, FL. USA.
2010 Galerie Maeght Barcelona, Spain
2010 Rectoría Vella Foundation, St.Celoni, Barcelona.
2009 Bestandteile, Galerie Per-Seh, Hannover, Germany
2009 A.C. Contemporary Art Galería, Madrid. Spain
2008 Galerie Maeght, Barcelona. Spain
2008 Recent Works, Galerie Omnium Ars, Girona, Spain
2007 Begegnungen Galerie Per-Seh, Hannover, Germany
2007 A.C. Contemporary Art Galería, Madrid. Spain
2006 Galería Joan Planellas, Tossa de Mar, Girona, Spain
2006 Four Elements, A.C. Contemporary Art Gallery, Marbella Málaga, Spain
2005 The Art of Antoni Amat, Galerie Zulauf, Freinsheim, Germany
2005 Maeght Gallery, Barcelona. Spain
2005 Peintures, Liehrmann Galerie, Liège, Belgium
2004 Espacio y luz A.C. Contemporary Art Galería, Madrid.
2004 A.C. Contemporary Art Gallery, Marbella Málaga, Spain
2003 The enigma of Alchemy, Galerie Maeght, Barcelona.
2003 Oceans, Galería Artgaspar, Las Palmas, Canarias Spain
2002 Galería Centre d'art S' estació, Mallorca. Spain
SELECTED GROUP EXHIBITIONS
2014 Artists of the Mediterranean, Pula Galerie, Son Servera, Mallorca, Spain
2013 Art and alchemy, Masters Art, Palama de Mallorca, Mallorca, Spain
2012 Lübecker Museumsnacht- Expeditionen, Lübeck, Germany
2011 MIA, International Art Fair, Miami, USA
2011 Etra Fine Art, Miami,FL. USA.
2011 We The Artist. Marina Abramovic, Antoni Amat, Anselm Reyle, Spencer Tunick, Ashley Bickerton, etc. National Museum of Trinidad & Tobago.
2010 Per-Seh Gallery, Hannover, Germany
2010 A.C. Contemporary Art Gallery, Madrid. Spain
2010 Joan Planellas Gallery, Tossa de Mar, Girona, Spain
2009 Dialogues, Galería Centre d'art S' estació, Mallorca. Spain
2009 Antoni Tapies, Joan Miro, Antoni Amat, Galeria Maeght, Barcelona.
2009 PuroArte, Vigo, A.C. Contemporary Art Gallery Spain
2008 The new vanguard, Galería Centre d'art S' estació, Mallorca. Spain
2008 Galerie Zulauf, Freinsheim, Germany
2008 ArtMadrid, A.C. Contemporary Art Gallery, Madrid. Spain
2007 A.C. Contemporary Art Gallery, Marbella Málaga, Spain
2007 ArtMadrid, A.C. Contemporary Art Galería Madrid. Spain
2007 PuroArte, Vigo, A.C. Contemporary Art Galería Spain
2006 Centre d’Art S’Estació, Sineu, Mallorca, Spain
2006 A.C. Contemporary Art Galería, Madrid. Spain
2006 VadeArte, Artfair, A.C. Contemporary Art Galería Spain
2006 ArteSevilla, Artfair,A.C. Contemporary Art Gallery Sevilla. Spain
2006 PuroArte, A.C. Contemporary Art Galería, Vigo Spain.
2005 Inter cultures, Antoni Amat, Luc Doerflinger, Oh Sufan, Maeght Gallerie, Barcelona
2005 A.C. Contemporary Art, Gallery Marbella Málaga, Spain
2005 A.C. Contemporary Art Galería, Madrid. Spain
2005 Sculpture Symposium, ParcArt, Girona, Spain
2005 VadeArte, Artfair, A.C. Contemporary Art Gallery Spain
2004 Temps d'Estiu, Galería Maeght, Barcelona
2004 Centre d’Art S’Estació, Sineu, Mallorca, Spain
"Orbis Viridis", 67 x 67 in., mixed media & oil on wood
"Hermes Dream", 51 x 77 in., mixed media on wood
"Opus I", 51 x 77 in., mixed media on wood
Throughout the 1950s, Botero experimented with proportion and size, and he began developing his trademark style—round, bloated humans and animals—after he moved to New York City in 1960. The inflated proportions of his figures, including those in Presidential Family (1967), suggest an element of political satire, and are depicted using flat, bright color and prominently outlined forms—a nod to Latin-American folk art. And while his work includes still-lifes and landscapes, Botero has typically concentrated on his emblematic situational portraiture.
After reaching an international audience with his art, in 1973, Botero moved to Paris, where he began creating sculptures. These works extended the foundational themes of his painting, as he again focused on his bloated subjects. As his sculpture developed, by the 1990s, outdoor exhibitions of huge bronze figures were staged around the world to great success.
"Untitled", 9 x 9 in., watercolor
Robert Brinker is a mixed media artist whose primarily focus is painting and cut paper collage. He has exhibited nationally and internationally. In 2003 and 2004 he was a Visiting Artist at the American Academy in Rome.
Brinker's works can be found in the permanent collections of the Albright Knox Gallery, Buffalo; Lavazza Coffee, Turin, Italy; New York Prebyterian Hospital, New York; National Art Museum of China, Beijing; Progressive Insurance, Cleveland; The British Library, London; The New York Public Library, New York; Altria Group Inc., New York; Henry Schein Inc., International Headquarters, Melville; Philip Morris Companies Inc., New York, and in numerous established private collections.
2015 Mind Maze, Michael Warren Contemporary, Denver, CO
2014 Chaos & Control, Quintenz Gallery, Aspen, CO
2012 Finger Tangle - New Paintings, Francis M. Naumann Fine Art, New York, NY
2011 Command X, 212Gallery, Aspen, CO
2009 New Drawings and Works on Paper, Harvey/Meadows Gallery, Aspen, CO
2008 Foul Play, Sara Tecchia Roma New York, NY
2007 New Works on Paper, Harvey/Meadows Gallery, Aspen, CO
2002 Stained, Substation No. 9, The Northern Indiana Arts Association, Hammond, IN
1998 9 Lambs (A Flock), P.S.1 Contemporary Art Center, curated by Alana Heiss, Long Island City, NY
SELECTED GROUP EXHIBITIONS
2015 Small is Beautiful, Flowers Gallery, New York, NY
2015 Typology Morphology, T + H Gallery, Institute for Electronic Arts, Boston, MA
2015 Typology Morphology, Institute for Electronic Arts, Alfred, NY
2015 Past & Present, Francis M. Naumann Fine Art, New York, NY
2014 Small is Beautiful, Flowers Gallery, New York, NY
2014 Introductions II: A Closer Look, Michael Warren Contemporary, Denver, CO
2014 Octavia Summer Show, Octavia Art Gallery, New Orleans, LA
2014 Introductions, Michael Warren Contemporary, Denver, CO
2013 Marcel Duchamp, Nude Descending a Staircase; An Homage,
2013 Francis M. Naumann Fine Art, New York, NY
2013 The Armory Show, New York, NY
2011 Giving and Receiving, Colorado University Art Museum, Boulder, CO, curated by Lisa Tamaris Becker
2011 New Work-Summer Group Show, Francis M. Naumann Fine Art, New York, NY
2011 Paper A-Z, Sue Scott Gallery, New York, NY
2010 Art Basel Miami Beach, Francis M. Naumann Fine Art booth (December)
2009 Fall Forward, Sara Tecchia Roma New York, NY
2009 Bad Habits, Albright-Knox Art Gallery, curated by Heather Pesanti, Buffalo, NY
2009 Scope New York, NY
2009 Arte Fiera-Arte First, Bologna, Italy
2009 Faculty Exhibition, Holualoa Foundation for the Arts, Donkey
Mill Art Center, Holualoa, HI
2008 Timeless: The Art of Drawing, Morris Museum, Morristown, NJ
2008 Yard Sale: summer show, Sara Tecchia Roma New York, NY
2008 Small is Beautiful, Flowers Gallery, New York, NY
2008 Mechanism Organism, A9 Space, Alcohol Gallery District, Beijing, China
2008 Scope New York, NY
2007 Small is Beautiful, Flowers Gallery, New York, NY
2007 Why Can't We All Just Get Along, Sara Tecchia Roma New York, NY
2007 Insatiable Streams: The Institute for Electronic Arts 10th Anniversary Exhibition, Beijing BS 1 Contemporary Art Center and Zero Field Art Center, Beijing, China (catalogue)
2007 Corresponding & Responding, The National Art Museum of China, Beijing, China, curated by James Surls and Liu Xiaochun
2007 Your line..., Sara Tecchia Roma New York, NY
2007 In Search of Duende, Anderson Ranch Arts Center, curated by Susan Working & Kathleen Loe, Snowmass Village, CO
2006 Extended Remix, Museum of Contemporary Art Denver, curated by Cydney Payton, Denver, CO
2006 A Summer Show, Sara Tecchia Roma New York, NY
2006 Finding Balance, Houston Center for Contemporary Crafts, curated by James Surls, Houston, TX (catalogue)
2004 Aspen Valley Biennial, Aspen Art Museum, curated by Dean Sobel, Aspen, CO
2004 Installation Annex, David Floria Gallery, Aspen, CO
2004 Drawn to the Present, Pace University Gallery, curated by Jane Dickson and Linda Gottesfeld, Pleasantville, NY
2001 Open Source: Artists from The Institute for Electronic Arts (IEA), The Central Academy of Fine Arts (CAFA), Beijing, China (catalogue)
"Another Go-Around", oil on linen, 70 x 70 in.
I have always been interested in the paradoxical nature of painting and have used invented forms and ambiguous spaces as a means by which I could approach the ideas of time, history, and uncertainty.
The most recent paintings have been much affected by my move from London to Florida, particularly in the use of high-pitched atmospheric color, clear light, reflective surfaces and low horizons.
The objects normally appear to be remnants or fragments of something else --ambiguous in terms of purpose, status, material, gravity and scale, painted with a mixture of verisimilitude, focus, atmosphere and timelessness.
- Hugh Davies
1971 Kempton Gallery, Brighton
1973 Woburn Art Gallery, Woburn Abbey, Bedfordshire
1975 Midlands Art Centre, Birmingham
1977 Morley Gallery, London
1984 Redfern Gallery, London
1985 Redfern Gallery, London
1986 Cartwright Hall, Bradford City Museum, Yorkshire
1991 Trinity Gallery, London
1992 Bruton Street Gallery, London
1999 Uncle Grey Gallery, London
2005 Longstreth Goldberg Art, Naples, Florida
2010 Longstreth Goldberg Art, Naples, Florida
2011 Highlands Museum of the Arts, Sebring, Florida
2012 Allyn Gallup Contemporary, Sarasota, Florida
2013 Englewood Arts Center, Englewood, Florida
2014 Allyn Gallup Contemporary, Sarasota, Florida
2015 Sarasota Arts Centre, Sarasota, Florida
SELECTED GROUP EXHIBITIONS
1995 The Walk Gallery, London
1995 "The London Group", Barbican Centre, London
1996 "Conversation Pieces" Uncle Grey Gallery, London
1997 Artspace Gallery, London
1997 Davies and Tooth Fine Art, London
1998 Battersea Arts Center, London
2000 Still Too Few Gallery, London.
2000 "Research", The House, London
2001 Art 2001, Islington, London
2001 "The London Group", Woodlands Art Gallery, London
2002 Stark Gallery, London
2002 "SW62QB" Bagleys Space, London
2004 Faculty Exhibition, Ringling School of Art and Design, Florida
2005 "Gallery Artists" Longstreth and Goldberg Art, Naples, Florida
2006 Five Artists, Longstreth Goldberg Art, Naples Florida
2007 International Design Center, Florida
2007 "A Priori/Prima Facie., Selby Gallery, Sarasota Florida
2007 "Gallery Artists", Longstreth Goldberg Art, Naples, Florida
2008 Faculty Exhibition, Selby Gallery, Sarasota Florida
2008 "Gallery Artists", Longstreth Goldberg Art, Naples, Florida
2009 Faculty Exhibition, Selby Gallery, Sarasota Florida
2009 Longstreth Goldberg Art, Naples, Florida
2010 Faculty Exhibition, Selby Gallery, Sarasota. Florida
2010 Longstreth Goldberg Art, Naples, Florida
2010 Longboat Key Center for the Arts, Longboat Key, Florida
2010 "Marmite Painting Bi-annual•, Central Gallery, Manchester, U.K. 2010 Lanchester Projects, Coventry, U.K.
2011 "Marmite Painting Bi-annual• The Nunnery, Bow Arts Trust, London, U.K.
2011 Longstreth Goldberg Art, Naples, Florida
2012 Allyn Gallup Contemporary, Sarasota, Florida
2012 Selby Gallery, Sarasota, Florida
2013 Onessimo Fine Art, Palm Beach Gardens, Florida
2013 Allyn Gallup Cotemporary, Sarasota, Florida
2014 Etra Fine Art, Miami, Florida
2014 Onessimo Fine Art, Palm Beach Gardens, Florida
2015 Etra Fine Art, Miami, Florida
2015 “Made in Sarasota”, Allyn Gallup Fine Art, Sarasota, Florida
2015 Onessimo Fine Art, Palm Beach Gardens, Florida
2015 “Defining Abstraction”, Selby Gallery, Sarasota, Florida
"Galicia", oil on canvas, 60 x 48 in.
"Sorento", oil on canvas, 60 x 48 in.
Roberto Estopinan, a sculptor, draftsman, and printmaker, was born March 17, 1921 in Havana, Cuba. He enrolled at the Academia San Alejandro when he was 14 and became the protege and studio assistant of the sculptor Juan José Sicre. After graduation he traveled first to Mexico, where he met and befriended Francisco Zuniga, and studied Pre-Columbian sculpture. In 1949 he traveled to Europe, visiting England, France and Italy. In these trips he encountered the sculpture of Henry Moore and Marino Marini, and their humanistic yet formal visions would be influential on Estopinan's work.
Throughout the 1950s Estopinan received important sculpture prizes at various national exhibitions in Havana. In 1953 he was the only semi-finalist from Latin America at the Tate Gallery's international sculpture competition for a Monument to the Unknown Political Prisoner. During the 1950s he worked in direct carving with native Cuban woods, as well as in direct plaster and welding - these works blend figural and abstract elements. The 1960s brought forth his series of political prisoners, warriors and crucifixions, mostly carved in wood or as welded nails. The 1970s work saw an abandonment of the rawness of the previous decade in favor of a pantheistic vision, where the sculptures reflected the textures and forms of nature.
Since the 1980s he has been involved with the female torso as his favorite expressive form. These bronzes tend to posses a minimal classicism, that emotionally range from sensual to pained. As a printmaker and draftsman, his production has been thematically parallel to his sculptures.
The most complete collection of his prints (1959-96) is in the Jersey City Museum in New Jersey, where an exhibition was hosted in the Spring of 1996.
Estopinan was active in the urban guerilla against Batista, and joined the diplomatic service after the triumph of the 1959 Revolution. By 1961, he became disillusioned with the dictatorial policies of the new regime and went into exile in the U.S.A. He lived in NYC from the 1960s until 2002, when he retired to Miami, Fla.
Together with Juan Jose Sicre, Alfredo Lozano and Agustin Cardenas, Estopinan is considered one of the pioneers of modern sculpture in Cuba and Latin America.
"Untitled (Torsos)", 36 x 40 in.
"Untitled (Toros)", 30.5 x 44.5 in.
"Untitled (Torsos)", 30.5 x 44.5 in.
"For nearly twenty years, I made non-objective grid structured paintings. I started to see references to landscape in these works. I've literalized those references by painting oil landscape vistas of horizons, clouds and bodies of water. These paintings consist of two or more vertical panels. Usually one panel is landscape imagery. The adjacent panels are often atmospheric voids with vestiges of recognizable landscapes.
I try to capture the mystical light found in natural atmospheric effects: the haze in the distance on humid summer days, the overcast gloom of winter skies, and the softness of landscape bathed in fog, and the quieting mood of approaching darkness. My intent is to create paintings imbued with a meditative, spiritual presence suggesting issues about time and ecology. I do this by softly modulating color, tone and value. The color varies from quiet, monochromatic works to fully orchestrated chromatic ones. By blending from one hue to another I create color which makes its self gradually felt, weeping forth. In this manner, I create illusions of mysterious emanations of light, places where ones eyes and spirit are invited to linger.
I try to imbue my work with a monumental presence, epic in both size and scope. I do this by orchestrating the separate elements of color, texture and structure into a harmonious whole. I seek a somewhat reductive image rich in value and contrast. The surface of the work is devoid of textural incidence. I don’t want anything to distract from the illusion of depth so I deny any marks which would hold the viewer on the surface of the painting. In my luminescent multi- paneled oil paintings I try to find the grey area between traditional landscape painting and its abstraction into color fields. The compositions are about ambiguities of form and void, foreground and background and surface and deep space.
My roots lie in tonalism, color field painting and minimalism. However, my work contains an ever-present awareness of the dramatic use of light of the post-renaissance chiaroscurists. It combines a classical awareness of structure with a romantic use of color always in combination with a unique sense of ambiguity.
My work continues in its evolution of style the search for an abstract means of probing the ambiguities of physical and spiritual experience of light, and its power to foster a more intense life of the spirit through profound emotional experience of form, color and composition."
- Douglass Freed
SELECTED SOLO EXHIBITIONS
2013 Aberson Exhibits, Doug Freed - Tulsa, OK
2013 Etra Fine Art, Doug Freed, Large Paintings - Miami, FL
2012 Mary Martin Fine Art, Douglass Freed, Paintings - Charleston, SC
2011 Daum Museum of Contemporary Art, Douglass Freed, Paintings, 1973-2010 - Sedalia, MO
2011 Sherry Leedy Contemporary Art, Light Sequent - Kansas City, MO
2009 Anne Loucks Gallery, Douglass Freed, May 22 – July 20 - Chicago, Illinois
2009 Dean Day Gallery, June 6 – July 18 - Houston, Texas
2009 Sherry Leedy Contemporary Art, Light, Color, Atmosphere, April 3 – May 16 - Kansas City, Missouri
2008 Anne Loucks Gallery, Douglass Freed, September 26 – November 20 - Glencoe (Chicago), Illinois
2007 Etra Fine Art, Large Canvases, February 1 – March 4 - Miami, Florida
2007 Micaela Gallery, Dreamscapes, November 2 – December 2 - San Francisco, California
2006 Anne Loucks Gallery, Douglass Freed, November 3 – December 1 - Glencoe (Chicago), Illinois
2006 Mary Martin Fine Art, Dreamscapes, May 25 – July 2 - Charleston, South Carolina
2005 Etra Fine Art, Revisited Landscape, March 1 – April 17 - Miami, Florida
2005 Lanoue Fine Art, Douglass Freed, May 1 – June 15 - Boston, Massachusetts
2005 Mary Martin Fine Art, Spoletto Arts Festival, May 21 – June 26 - Charleston, South Carolina
2005 Sherry Leedy Contemporary Art, Time Passages, January 14-March 12 - Kansas City, Missouri
2004 Olsen-Larsen Galleries, Newwork, September 10 - October 9 - West Des Moines, Iowa
2004 Patrona Frau/Etra Fine Arts, Basil Miami, December 1-31 - Miami, Florida
2003 R. Duane Reed Gallery, Douglass Freed Introduction, September 19 - October 18 - St. Louis, Missouri
2003 Steinway Gallery, Douglass Freed, September 18 - October 23 - Chapel Hill, North Carolina
2003 Walnut Street Gallery, Works on Canvas and Paper, May 2 - June 28 - Springfield, Missouri
2002 Northwest Missouri State University, Douglass Freed, October 14 - November 8 - Maryville, Missouri
2002 Vorpal Gallery, Douglass Freed, June 1 - August 31 - San Francisco, California
2000-01 Elliot Smith Contemporary Art, Douglass Freed, December 8 - January 14 - St. Louis, Missouri
2000 Sherry Leedy Contemporary Art, Monumental Landscapes, October 6 - November 11 - Kansas City, Missouri
2000 Wichita Center for the Arts, Douglass Freed Monumental Landscapes, June 30 - Aug 31 - Wichita, Kansas
1999 M.A. Doran Gallery, Douglass Freed, New Paintings, August 12 - September 11 - Tulsa, Oklahoma
1999 Steinway Gallery, Douglass Freed, Oils on Paper, October 30 - December 10 - Chapel Hill, North Carolina
1998 Steinway Gallery, Landscapes, January 6 - February 21 - Chapel Hill, North Carolina
1997 Leedy Voulkos Gallery, Sky/Land/Water, October 10 - November 15, 1997 - Kansas City, Missouri
1997 Vorpal Gallery, Steel Wall Structures, February 28 - March 28 - New York City, New York
1997 Vorpal Gallery, Oil on Canvas Structures, San Francisco, California - March 8 - April 5
1997 Walnut Street Gallery, Horizons and Vistas, April 11 - May 31 - Springfield, Missouri
1996-97 Goddard Gallery, Stauffacher Center for the Fine Arts, Monumental Structures and Landscapes, November 28 - January 24 - Sedalia, Missouri
1996 Elliot Smith Contemporary Art, Oil Paintings, April 12 - May 12 - St. Louis, Missouri
1995 Elliot Smith Contemporary Art, New Steel Sculptures, January 20 - February 26 - St. Louis, Missouri
"Closure Veiled", 90 x 121 in., oil on canvas
"Specter", 32 x 90 in., oil on canvas
"Spiel", 32 x 90 in., oil on canvas
Beginning her artistic career in the late 1970s, Claudia Hakim has explored different thematic interests and always proposed precise and clear responses. In the creative process, she applies her skill and clarity to the definition of the sculptural language. She transmits her ability to see beyond appearances through the diversity of her formal creations; constructing forms by building, weaving and assembling the different elements which she later wraps and unwraps in a playful definition of her sculptural aesthetics but, always within an essential modular format.
Hence, inspired by fabric weaving, jewellery (magnified necklaces and arm rings) and textiles, the sculptor manipulates and transforms basic elements into superlative large sculptures with the use of rings, bolts, screws, nuts, springs, metallic sheets and steel mesh to create geometric shapes, triangles and circles for her present exhibition. The work proposes a variety of orderly and rigorous geometrical forms. At times, the forms are looser, they move more freely. The multiplication of forms leads, invariably, to a purist aesthetic proposal - clear, clean, defined. The tactile, sensorial appeal and the malleability of the sculptures make them even richer and more magnificent environmental sculptures.
Installation view of "Coral", 93 steel panels, autmobile springs, paint, 41 x 41" each panel, 2009
Detail of "Coral"
Detail of "Coral"
Installation view of "Daedalus", woven steel links, dimensions variable
Detail of "Daedalus"
"Andriy Halashyn's oil on canvas pieces are as layered, rich, and complex as the artist's life itself. Not coincidentally, Halashyn credits much of his style and inspiration to specific scenes, memories, and periods of time from his life. He describes his art in the same way he describes that life: "like a film, with layers one after the other," each composed of parts that are essential to the whole.
Halashyn's signature style -- for which he has been called an emerging global sensation -- hinges on high-impact contrasts. "I don't have limits," he says. "I like to mix politics with children's heroes, fashion with war, destruction with parties." For Halashyn, the contrasting elements -- topics, colors, sensations -- simply reflect life. "With every unpleasant situation, I try to see the positive things … and all of them are a part of our lives."
Today, Halashyn continues to travel, hoping to exhibit in additional countries and continue to transcend cultures with his work. He quotes Picasso to describe himself as an artist: "inspiration exists, it just has to find us working." He will continue working as an artist for the rest of his life, he says, finding pure joy in the process."
- Elizabeth Nutt
15/07/2014 Salfineart Gallery, Los Angeles, USA
17/10/2012 Arteconsult Gallery, Panama, Panama
16/02/2012 Jade Gallery, Frick, Switzerland
28/06/2011 KunstKlub, San Jose, Costa Rica
27/05/2010 Collection Art Gallery, Rich&Famous project, Kiev, Ukraine
14/12/2009 Na Institutskoy Art Gallery, Kiev, Ukraine
21/05/2008 Gallery Arteconsult Aleman & Grinberg, Panama, Panama
09/07/2007 Arte 99 Gallery, War Fashion, San Jose, Costa Rica
08/03/2005 KunstKlub Gallery, Kniazna Filosophy, San Jose, Costa Rica.
28/10/2003 Hossli Jewelers, Kniazna Filosophy, san Jose, Costa Rica.
10/12/2001 GalleryAnna Marten, Primeros Momentos, San José Costa Rica.
01/03/2015 Pinchuk Art Centre, Ukraine ,Kiev
15/05/2014 SalfineartGallery, Los Angeles, USA.
31/12/2013 EquilateroGallery,San Jose, Costa Rica.
31/11/2013 Valoarte Costa Rica, San Jose , Costa Rica
15/02/2013 Palm Springs Art Fair, CA,USA
31/10/2012 Valoarte,San Jose , Costa Rica
14/07/2012 Scope Art Fair ,Zurich, Switzerland
02/03/2012 Arteamericas Art Fair, Miami , USA
29/10/2011 Pinchuk Art Centre Prize, Kiev, Ukraine
14/09/2011 Shanghai Art Fair, Shanghai , China
07/09/2011 Valoarte, San Jose ,Costa Rica
09/06/2010 Arteconsult Gallery,” Candys” with Luciano Goizueta ,Panama,Panama.
29/05/2010 Collection Gallery&Pinchuk Art Centre , “Night at the Museum “
14/04/2010 Bickar Gallery,New York – San Jose, San Jose ,Costa Rica
13/03/2010 Diana Lowenstein Fine Art Gallery,Miami ,USA.
21/01/2010 The Americas collection Gallery,Los Angeles Art Show,USA
14/12/2009 Pinchuk Art Center ,Kiev, Ukraine.
22/10/2009 Arteconsult Gallery ,ArteBo Art Fair,Bogota,Colombia.
21/06/2009 Arteconsult Gallery,Panama,Panama
28/09/2009 Valoarte ,San Jose ,Costa Rica
09/06/2009 Hot Art Fair, Kunst Klub Art Promotions , Basel, Switzerland.
26/03/2009 Arteconsult Gallery,ArteahoraArt Fair,Chicago,USA.
26/03/2009 Arte Americas Art Fair, Arteconsult Gallery, Miami, USA.
14/05/2009 The Americas Collections GalleryMiami , USA.
01/12/2008 Red Dot Fair , Americas Colections Gallery, Miami.
22/10/2008 ArtBo,Bogota ,Arteconsult Gallery,Colombia.
09/12/2008 Fundacion Manolo Caracol , Panama.
28/09/2008 Valoarte,San Jose,Costa-Rica.
22/06/2008 Arteconsult Gallery, Panamá, Panamá.
26/03/2008 Arte consult Gallery,ArteAmericas, Miami Beach, U.S.A.
08/05/2007 Arteconsult Gallery , Panamá, Panamá.
28.09/2007 VALOARTE, War Fashion, San José, Costa Rica.
09/05/2006 VIP Santamaría, War Fashion, San José, Costa Rica.
"Birth of a Country", 80 x 120 in., oil on canvas
"Transport Forms 2", 51 x 59 in., oil on canvas
"Clown's Thoughts", 60 in. diameter, oil on canvas
Yozo Hamaguchi is widely regarded as one of the finest mezzotint artists in the history of the medium. Hamaguchi studied sculpture at the Tokyo Art School in 1927, but abandoned his studies in 1930 to go to France. After a return to Japan in 1939, Hamaguchi settled in Paris in 1953, during which time he produced copperplate etchings. From about 1955, he began producing black and white and color mezzotints. He was awarded prizes at the Sao Paulo Biennale and the first International Biennial Print Exhibition in Tokyo in 1957. His first solo exhibition, which comprised over 160 prints, was held in Japan, at the National Museum of Art in Osaka. Hamaguchi’s mezzotints and virtuoso works have led to the present day popularity in this technique.
"Blue Walnut", mezzotint
"Twenty-Two Cherries (E. E. Cummings Suite)", mezzotint
"Cavalry / Innercity", oil & fabric on canvas, 72 x 51 in.
One panel of five-piece polyptych "Cityscape", oil on board, 60 x 48 in.
From "Cages" series, mixed media on paper, 30 x 22 in.
Viewing Colombian-born Titi Kerndt’s work is like touring the natural world, not so much through time and space as through imagination and color. What appear at first glance to be broadly painted, abstract canvases are revealed, on continued viewing, to be evocative, nuanced visions of land, sea, and sky, rewarding the viewer with rich textures and hidden treasures.
The prolific young artist’s work includes multiple artworks and even several series inspired by different aspects of nature, some pieces meant to be presented solo, others grouped. Kerndt layers acrylic paint, pulling it across the canvas in dramatic brushstrokes, teasing it into frothy bubbles or rigid disks, tracing it with tiny figures, embedding it with sand, pieces of wood, or texted paper.
The themes and elements in Kerndt’s paintings mirror the planet’s diversity. The “Crossings” series is about connecting places, as we do when traveling or exploring. Lines, circles and dots circumnavigate these canvases, meeting, parting, creating their own imprint on the landscape. Other works evoke the moods and colors of seasons, drenching us in deep golds and purples or sending us soaring into an orange-infused sunset.
Kerndt’s ocean-inspired paintings explore a rich world of blues, greens and aquas infused with light, inhabited by exotic sea creatures. Gestured brushstrokes, often punctuated with flashes of luminous gold and silver, balance these lush fields of color. Ghostly jellyfish and seahorses float by in some paintings while vivid coral fish dart about in others. Even sea grapes inspire the artist, who depicts them with a lyrical choreography of lines and circles.
Throughout these explorations, Kerndt’s paintings encompass, like nature - her beloved muse - the broad spectrum of colors, textures, and elements that harmonize in the glorious dance of life. Whether on land or on sea, Kerndt’s work reveals the exuberant topography of the artist’s mind and spirit.
"Coral Reef #14", mixed media on canvas, 59 x 59 in.
"The Sea Cave", mixed media on canvas, 78 x 60 in.
"Constructive Nature #5", 60 x 60 in., mixed media on canvas
Born in Teaneck, New Jersey, David T. Kessler has been creating his unique photorealistic airbrushed works on aluminum for over thirty years. Kessler received his BFA from Arizona State University in 1972 and his MFA from San Francisco Art Institute in 1975.
Kessler has made a name for himself as an extraordinary painter who has created a unique art form that holds a viewers attention by accentuating the paradox of the flat painted surface with the visual illusion of depth and space. Using a perfected technique in the photorealist tradition developed over the past twenty-five years, the artist has created a series of spectacular waterscape paintings that incorporate realistic imagery painted over a surface of abraded and polished aluminum. This combination of hybrid elements forces the viewer to shift their perception to accommodate the incongruity of light being reflected from the metal surface, while at the same time being absorbed by the painted areas. This reinforces the strange visual perplexity of the paintings that are at the same time realistic and holographic.
Kessler's works are widely collected by museums, corporations, and private collections internationally. His paintings have been exhibited worldwide since 1977 with shows in Tokyo, Chicago, Los Angeles, Miami and New York. Kessler’s paintings are in the permanent collections of the Brooklyn Museum, the Minnesota Museum of Art and the United States Embassy among others. He is also represented in the corporate collections of IBM, Prudential Life Insurance, McDonald’s, AT&T, Clorox and others nationwide. The artist lives and works in Scottsdale, Arizona.
2012 Dean Day Gallery, Houston, TX
2012 M Contemporary, Annapolis, MD
2011 Stricoff Fine Art, New York, NY
2010 Phoenix Airport Museum, Phoenix, AZ
2009 O.K. Harris Works of Art, New York, NY
2008 Bentley Gallery, Scottsdale, AZ
2008 Susan Street Gallery, Solana Beach, CA
2007 Bentley Projects, Phoenix, AZ
2006 OK Harris Works of Art, New York, NY
2006 Ogilvie-Pertl Gallery, Chicago, IL
2006 Meyer East Gallery, Santa Fe, NM
2004 Bentley Gallery, Scottsdale, AZ
2004 Ogilvie-Pertl Gallery, Chicago, IL
2003 Vanier Galleries, Scottsdale, AZ
2002 Vanier Galleries, Scottsdale, AZ
2001 Davis Dominguez Gallery, Tucson, AZ
2000 Vanier Galleries, Scottsdale, AZ
1999 Vanier Galleries, Scottsdale, AZ
1996 Riva Yares Gallery, Santa Fe, NM
1996 Northern Arizona University Art Museum, Flagstaff, AZ
1996 Riva Yares Gallery, Scottsdale, AZ
1987 Elaine Horwitch Galleries, Scottsdale, AZ
1985 Elaine Horwitch Galleries, Scottsdale, AZ
1983 Elaine Horwitch Galleries, Scottsdale, AZ
1983 Sedona Art Museum, Sedona, AZ
1981 Elaine Horwitch Galleries, Scottsdale, AZ
1979 Phil Descind’s Capricorn Gallery, Bethesda, MD
1977 Gallery 4, Alexandria, VA
1976 ADI Gallery, San Francisco, CA
1973 Arizona State University, Tempe, AZ
2012 Etra Fine Art, Miami, FL
2011/12 Art Basel, Miami, FL
2011 Ogilvie-Pertl Gallery, Chicago, IL
2010 Stricoff Fine Arts, New York, NY
2009 Plus One Gallery, London, England
2008 Ogilvie-Pertl Gallery, Chicago, IL
2007 Introductions II, Stremmel Gallery, Reno, NV
2006 “Arts Botanica” Loyola University Museum of Art, Chicago, IL
2005 “Paint of Metal” Tucson Museum of Art, Tucson, AZ
2005 “Paint of Metal” Tucson Museum of Art, Tucson, AZ
2003 “Hyperrealism, USA, 1965-1975″ Strasbourg Museum of Contemporary Art, Strausbourg, France
2002 “As Real as it Gets, Superrealism and Photorealism” Tucson Museum of Contemporary Art, Tucson, AZ
2001 Inaugural Show, Vanier Fine Art, Tucson, AZ
2000 Davis Dominguez Gallery, Tucson, AZ
1999 “New Acquisitions Show” Scottsdale Center for the Arts, Scottsdale, AZ
1997 “Landscapes” Virginia Miller Galleries, Miami, FL
1996 “Living with Art” Bruce Kapson Gallery, Santa Monica, CA
1996 Riva Yares Gallery, Santa Fe, NM
1995 “Paintings” Barrington Area Arts Center, Barrington, IL
1994 “Getting Real, 20th Century American Realism, South Bend Regional Museum of Art, South Bend, IN
1993 “Arizona Artists” Arizona State University Art Museum, Tempe, AZ
1992 Riva Yares Gallery, Scottsdale, AZ
1989 “Exhibition of Master Works” Riva Yares Gallery, Scottsdale, AZ
1989 Sazama Gallery, Chicago, IL
1988 “Elemental Visions/Personal Landscapes” Art Museum of South Texax, Corpus Christi, TX
1987 “Boundless Realism: Contemporary Landscape Painting of the West” The Rockwell Museum, Corning, NY
1987 “The Phil Sescind Collection” Butler Institute of American Art, Youngstown, OH
1986 Elaine Horwitch Galleries, Palm Springs, CA
1986 “Arizona Collects, 20th Century Painting” Tucson Museum of Contemporary Art, Tucson, AZ
1985 “Centennial Distinguished Alumni Exhibition, Arizona State University” The Arizona Bank Galleria, Phoenix, AZ
1984 “A Sense of Place: The Essence of Contemporary Southwest Art” Elaine Horwitch Gallery, Scottsdale, AZ
1983 “The Southwest Invitational” Yuma, AZ
1982 “Contemporary Watercolors from Frumkin-Struve Gallery” University of Wisconsin Foster Art Gallery, Eau Clair, WI
1982 “14th Annual Watercolor West” Utah State University, Logan, UT
1981 “Watercolors” Dubins Gallery, Los Angeles, CA
1981 “Contemporary American Watercolors” Illinois Bell, The Lobby Gallery, Chicago, IL
1980 “Watercolors 1980″ Frumkin-Struve Gallery, Chicago, IL
"Diving Koi", 30 x 60", airbrush on aluminum
"Silvered Overhang", 48 x 60 in., airbrush on aluminum
"Surface Shimmer", 44 x 64 in., airbrush on aluminum
Utilizing the flattening of figures, non-western iconography, and hybrid figures, Wifredo Lam developed a pastiche of Surrealism and Cubism that related himself to modernism while also commenting on the impacts of colonialism in Cuba. His works incorporated similar motifs found in Cubism, such as African masks and sculptures, but reintroduced them within their rightful domain. Lam adorned many of his figures with masks that were inspired by several different culture groups of Africa; these masks were usually the definitive feature for each figure in his work as many of them were almost indistinguishable from one another through his stacking of figures. Many of his works demonstrated his understanding and respect for Santería, a religion that traces back to the Yoruba people of Africa, further associating Lam and his paintings to his African roots. The orishas and their mounts symbolized the Afro-Cuban community who Lam encouraged to fight against racial degradation brought about by colonialism. Supplying weaponry to the Afro-Cubans through images of weapons and his actual paintings, Lam believed that an uprising was essential to creating a better life for this community who, although free, still felt the wrath of colonialism through racial discrimination and prejudice.
-- Kelsey Winiarski
From "Le Regard Vertical", 19.5 x 25.5 in., lithograph on Japan paper
From "Le Regard Vertical", 19.5 x 25.5 in., lithograph on Japan paper
Originally from the Midwest, Pamela Marks received her BFA in painting and drawing from the University of Illinois and an MFA in painting from the University of Arizona. A long-term interest in abstraction and organic form is evident in her paintings and prints. The idea that nature is in a constant state of flux and dissolution is central to the work. The work reflects a fascination with the phenomena of seeing, especially how we perceive color.
Marks' artworks have been exhibited in France, Scotland, the Dominican Republic, Greece and the Netherlands. She has had numerous exhibitions across the United States. Her paintings are included in a number of collections including The Tucson Museum of Art; IBM; Tokyo Ana Hotel; Florence Griswold Museum; Benziger Winery; Pabst Brewing Corporation; Singapore Sheraton Hotel; and the Colorado Sangre de Cristo Art Center. In 1994, Marks was awarded an honorarium and purchase prize for her multi-paneled artwork, “Healing,” that is on permanent display at the University of Arizona Health Sciences Library in Tucson.
Marks spent four months in the Dominican Republic as an artist-in-residence at Altos de Chavon in 1986, and she was the first PASCA artist in residence in Auvillar, France. In 2008, she received a Visual Artist Fellowship Grant from the Connecticut Commission on Culture. Marks has been a fellow at the MacDowell Colony and the Virginia Center for the Creative Arts. While at the American Academy in Rome in the visiting Artist and Scholar Program, the artist began research on sacred geometry that continues to inform her work. Since 1991, Marks has taught painting and drawing at Connecticut College in New London.
SELECTED ONE- AND TWO-PERSON EXHIBITIONS
2014 Pamela Marks: Paintings, Davis Dominguez Gallery, Tucson, AZ
2010 Celebrating 100 years of Abstraction, Alcove Gallery, Davis Dominguez Gallery, Tucson AZ
2009 Transpositions, EO Art Lab, Chester, CT
2008 The Camouflage Series, Multi-Cultural Center (Haas Gallery), Bloomsburg University, Bloomsburg, PA
2007 Camouflage, Gallery 66, Cummings Arts Center, Connecticut College The Camouflage Series, Davis Dominguez Gallery, Tucson, AZ
Nature’s Veil, EO Art Lab, Chester, CT
Inner and Outer Worlds, Cochise College, Sierra Vista, AZ
2006 Atmosphere in Flux, Kirkland Center for the Arts, Clinton, NY
2005 Watercolors, Lenore Gray Gallery, Providence, RI
2004 Paintings and Watercolors, Arno Maris Gallery, Westfield State College, Westfield, MA
2003 Recent Work, Davis Dominguez Gallery, Tucson, AZ
2002 Paper Jewels, Burnished Chariot, New London. CT
2015 Works on Paper 2015: Japan-U.S. Art Exchange Exhibition, Yuwaku Sousaku no Mori Center for Crafts and Culture, Kanazawa, Japan supported by the Consul General of the United States Osaka, Japan
2014 Then and Now, Four Artists, Louis Carlos Bernal Gallery, Pima College, Tucson, AZ
Then and Now, Tucson Airport Authority, Tucson AZ.
Made In Paint: An Exhibition of the 2013 Artists in Residence, Sam and Adele Golden Foundation, New Berlin, NY
3rd Annual Exhibition of Connecticut Printmakers, Akus Gallery, Eastern Connecticut State University.
2013 Certifiably Organic, Watershed Gallery, Ridgefield, CT.
2012 Watercolor: Paper and Pigment, Foundry Art Centre, St. Charles. MO. Dec. 2012-Jan.
2013 Small Things Considered, Davis Dominguez Gallery, Tucson, AZ., July
2012 Annual Faculty Exhibitions, 1991–2012, Cummings Arts Center, New London, CT
2011 NKG Juried National Exhibition, NK Gallery, Boston, MA Synesthesia, EO Art lab, CT
Rose Moon, Second Avenue Fire House Gallery and Performance Space, Bay Shore, NY
Limited Edition: Prints from Artists-Collectors. Louis Carlos Bernal Gallery, Pima College, Tucson, AZ
2010 Shared Response, EO Art lab, CT San Francisco Art Fair
2010, Fort Mason Center, San Francisco, CA
Common Purpose, EO Art lab, CT
2009 Soft Serve, Connecticut Commission on Culture and Tourism Gallery, Hartford, CT
Matta's acquaintance with Dali and Breton strongly influenced his artistic formation and subsequently connected him to the Surrealist movement, which he officially joined in 1937. He was in London for a
short period in 1936 and worked with Walter Gropius and László Moholy-Nagy. Matta's employment with the architects of the Spanish Republican pavilion at the Paris International Exhibition (1937)
exposed him to Picasso's Guernica (1937; Madrid, Prado) which greatly impressed him and influenced him in his work. At this time, he was introduced to the work of Marcel Duchamp, whom he met not
long after. He later went to Scandinavia where he met the architect Alvar Aalto and then to Russia where he worked on housing design projects.
The summer of 1938 marks the evolution of Matta's work from drawing to painting. Roberto completed his first inscape oil paintings while in Brittany and working with Gordon Onslow Ford in Brittany. Forced to leave Europe with the outbreak of war, Roberto arrived in New York in the Fall of 1938. In an article by Kathy Zimmerer of Latin American Masters, Beverly Hills, she describes Crucifiction  as: "evolving biomorphic forms that mutate and flow across the surface of the canvas Matta's fluid realm of space cushions their journey. His luminous palette of deep crimson, yellow, blue and black, defines and outlines the organic forms as they undergo metamorphoses."
"Trois Voix Dans Une", 42.5 x 40 in., oil on canvas
With a Bachelor of Fine Art degree from Kutztown University in Pennsylvania, Bruce has worked with many different wood species. In Pennsylvania, the local White Oak and Walnut trees provided a starting point for his work. The South Florida climate hosts many different species of hardwoods, both native and non- native, that offer McQuiston inspiration for his work.
The fact that some of the works, particularly those with the use of metal, reflect an automotive influence is no accident. In addition to being a sculptor, Bruce has worked in the car racing industry as a driver and a driver coach throughout the United States and Europe.
“No matter what I do, I cannot escape from my mechanical sensibilities. Two of the key elements required in both driving a racecar and creating sculpture are perception and control. While my goal is to control the design of the sculpture, I want to bring out the beauty from these magnificent trees and allow them to have an influence in the design process.”
Bruce McQuiston has been developing his ideas over a twenty-year period and continues to work on a daily basis. His use of natural materials in a modern context has been widely appreciated in the art community.
“South Florida offers incredible natural beauty. Unfortunately, that beauty is often unseen in our fast-paced urban world. My goal is to expose this beauty through the use of hardwoods in an environmentally conscious way, and let the trees have their final say in the form of these sculptures.”
2002 West Palm Beach Arts Collective
2003 West Palm Beach Arts Collective
2003 Pthalo Gallery
2003 Art Basil Exhibition, Haveli Gallery
2003 Daniel Azouley Gallery
2004 Artist in Residence Gallery
2004 Bergman Studios
2004 Daniel Azouley Gallery
2005 Donna Tribbey Fine Art
2006 Art Miami
2006 Contemporary Visionaries Salon
2007 Art Miami
2008 Art Basel, Sculpt Miami
2008 Artist in Residence Gallery
2009 Art Basel, Red Dot
2009 Art Basel Aqua
2009 D and G Gallery Miami
"Standing October", 90 x 14 x 14 in., Cuban mahogany & stainless steel
"Man Woman #26", 66 x 16 x 10 in., Cuban mahogany & stainless steel
"The Spirit of Kafuyee", 76 x 16 x 4 in., Cuban mahogany & stainless steel
Colombian-born Juan Mejía's work occupies an interesting terrain between intention and form. Always starkly minimal, but notably absent of the coldness that typifies the genre to some, Mejía's pieces reflect his training as an architect in their playful approach to form and space.
The artist has worked in many mediums, from Sintra, a plasticine material from which he carves his recognizable "Signos" series, to rusted bronze, emblematic of his series of folded sculptures entitled "Origami".
Below is an excerpt from Mejía's artist statement that accompanied his recent "Polymorphisms" series:
"My sculptures furnish valuable elements of minimalist connotation. On the emphasis of securing a compositional balance, we find the limits of the pictorial language and the architectonic design. After the research in "Origami", with the totems and folded pieces in iron, utilizing paper in "Light Boxes" first and a sheet of poly vinyl in "Subtle Spaces", cuts and folds are implemented to cause alternating light and shadow effects, defining immaterial spaces that are always marked by the rigor of order and geometry.
These pieces are polymorphic structures which are originated from intentional lines, accents, rhythms and games of full and empty spaces on the original flat surface. They then become three-dimensional sculptural objects of grand finesse."
2014 “The Intangible origin”. CERO Gallery, Bogotá, Colombia
2014 “Sensorial thickness”. Tolima´s Art Museum -MAT- Tolima, Ibague, Colombia
2013 "Polymorphisms: Barks, Radiant forests and Totems." Gallery of the Central Library. Universidad Pontificia Bolivariana. UPB, Medellin, Colombia / ETRA Fine Art Gallery, Miami, USA. / LGM International Art, Bogotá
2013 “The language of man”. Gallery knöerle & baettig, Winterthur, Switzerland
2011 "Subtle spaces”, ETRA Fine Art Gallery, Miami, USA.
2009 “Lightboxes” – White on white, Alonso Garces Gallery, Bogotá, Colombia.
2007 “Origami”. ETRA Fine Art Gallery, Miami, USA.
2015 Zenu Museum of Contemporary Art, MUZAC Artists LGM. Monteria, Colombia
2014 Small format. “El Castillo” Museum, Medellin, Colombia
2014 Intermediate show. LGM International Art, Bogotá, Colombia
2013 Small format. “El Castillo” Museum, Medellin, Colombia
2012 Tribute to John Cage. U. Gallery of art of the National University of Colombia. Medellin, Colombia.
2012 Summer show. ETRA Fine Art Gallery. Miami, USA.
2012 Small format. “El Castillo” Museum, Medellin, Colombia
2011 Spring Show. ETRA Fine Art Gallery, Miami, USA.
2008 Summer show. ETRA Fine Art Gallery. Miami, USA.
2008 Summer show. ETRA Fine Art Gallery. Miami, USA.
2005 Fragments of my neighborhood. Universidad Pontificia Bolivariana UPB, Medellin, Colombia.
1993 New Headquarters, Modern Art Museum of Medellin, MAMM. Rabinovich prize. Medellin, Colombia.
1989 Puerto Mirador, Riogrande ll call. Modern Art Museum of Medellin, MAMM, Medellin, Colombia.
"Origami #5", 65 x 16 in., rusted steel
"Subtle Spaces #13-1", 32 x 32 in., Sintra
"Edgar Negret was born in Popayán in 1920, the same year as both Obregón and Grau, with whose careers his own provides a fascinating contrast. By age eighteen he was attending the School of Fine Arts in Cali, in the southwestern part of the country. In 1948, while home in Popayán, he met the Spanish sculptor Jorge de Oteiza, who decisively influenced his early work.
In 1950, following a stay in Manhattan, Negret went off to Europe, residing for short periods first in Barcelona and then in Mallorca and Paris. While living in New York, Negret came to know such United States artists as Louise Nevelson, Jack Youngerman and Ellsworth Kelly. By 1955 his prestige was on the ascendant. Among the exhibitions in which he participated was "New Acquisitions," at New York's Museum of Modern Art. An excellent example of his work of this period is provided by the series of "Magic Apparatuses," presented at the 1957 São Paulo Biennial and in Bogotá the following year. Negret received worldwide public recognition in 1968, when his work was awarded the David E. Bright international prize for sculpture at the Thirty-fourth Venice Biennial.
Negret's work abounds in allusions to post-war technology. Their precise, blade-like edges are tempered by intelligent handling, which causes us to question the relevance of our present concerns and our anxieties with regard to the future. As objects, his sculptures lead us likewise to question the roles that other objects play, both in our own lives and in our communities, like it or not. This attitude of questioning has led both Negret and Ramírez Villamizar although they have taken opposite directions to investigate ancient artifacts. From them the two sculptors have extracted elements of poetry and mystery that impart a timeless quality to their compositions.
Negret's sculptures are like magic vessels within which a genie lies hidden. By touching them with the imagination, one can impart other qualities to their mechanical coldness and functionality. These works remind us that we cannot escape the impersonality of mass production and the homogenization of daily life and must find some means of harmonious adaptation."
"Mask-Metamorphosis", 34 x 34 in., painted aluminum
"Maiz Amarillo", 22 x 12 x 12 in., painted aluminum
Breaching the rift between the natural and constructed world lies the subtle, playful work of Jorge Olarte. In a re-imagining of industrial forms, Olarte frequently uses the discarded packaging materials of consumer goods as a jumping-off point. In the case of "Manzanas," the packaging for a pack of apples is used as a mold for concrete pour, becoming a sensual, gently collapsed matrix of slightly-off geometric forms when suspended on its side. Some of the works use colored glass inserted haphazardly to breathe life into the otherwise industrial shapes, and each stands on its own as a contained, idiosyncratic small-form sculpture. The mixture of found elements and the touch of the artist posits Olarte's work somewhere between sculpture and collage. However you classify it, the pieces help us see these supposedly single-use consumer items in a new, fresh light.
"Manzanas", 2013, concrete and wood, 13 x 12 x 6 in.
Charles Ommanney grew up in London, England and began his career two decades ago covering the break up of Eastern Europe in the early 90's. Since then he has covered major stories worldwide.Charles first gained recognition for his work in 1991 after being granted access by the Albanian government to the Bulqiza mines in the north of the country which at the time housed hundreds of political prisoners left over from the regime of Enver Hoxha and were strictly off limits to journalists. The subsequent story "Descent" that ran in the Sunday Telegraph put the hook in Charles and it was around this time he realized that the process of story telling was also a way for him to connect with a world so far from his upbringing in Southern England.Between 1992 and 1996 he went on to cover the events in the former Yugoslavia and the conflicts in Rwanda, Sudan and the Congo for Newsweek magazine.Since 1997 Charles Ommanney has been a East Coast-based editorial photographer. Clients include Vanity Fair, Rolling Stone, Amica, The Sunday Times Magazine and Stern. He has been a full-time contract photographer for Newsweek magazine since 1998 and was assigned to the White House in Washington DC between 2001 and 2008.In 2005 Ommanney was named on American Photo Magazine's list of â€œThe 100 Most Important People in Photography. He has received many accolades for his work including two from the coveted World Press Foundation in Amsterdam, Pictures of the Year International, NPPA and Communication Arts, The WHNPA Political Photo of the Year, PDN Photo Annual and Alfred Eisenstaedt magazine awards to name a few.
"Changing of the Guard", 40 x 60 in., photograph
"Nadin Ospina's works are the result of the state of traffic and exchange of ideas that characterize our era. Its hybrid character refers to operations that individuals' redefinitions of peripheral societies make products of the hegemonic culture. It highlights the state of constant redefinition that local cultures are in due to the rise of communication networks and world economic exchanges. Ospina's proposals refer to a concept of being Latin -- if it ever existed -- as one in crisis; he alludes to a reality in negotiation, in which the pre-Hispanic myths of a lost Arcadia merge with a brilliant transnational culture of spectacle. Revisions to Colima figures, copulating couples of the Tumaco or Aztec warriors, all with the ears of Mickey Mouse, outlined a scenario in which the subjects are involved in different forces -- in which the global and the local repel and attract, and at once must appropriate fragments from different sources to give meaning to reality. Ospina's mestizo works are the result of a state of affairs in which the subject --including so-called Western countries -- must give new meaning to transnational products to make them reconcile with their immediate reality, the local reality. The Colombian artist's proposals are the result of a world in which all have become the other."
- Eduardo Perez Soler
"Los Estrategas", 6 x 10 x 4 in., bronze
From "Dignatarios" series, 10.5 x 5 x 5.5 in. each, bronze
"Ricardo Pelaez is a Colombian artist with a vision for the arts that blends together design, etching and architecture, which are the focus of his projects. In the series, “Art in Context”, Pelaez focuses on creating 3-D installations with the ability to become interactive.
Central to each composition are references to iconic imagery. In “Fritza. Bitte Sitzt,” for example, Pelaez reinterprets Gustav Klimt’s famous painting, “Fritza von Riedler,” extending a decorative pattern from the painting through the foreground and continuing on to the livable space of a chair. The end result seamlessly joins the object with the painting, which blurs the line between art and design. “My goal is to create works that are both beautiful and functional,” said Pelaez. “I hope viewers are captivated by these 3-D pieces and feel that they too are part of the experience.”
From his earliest etchings Ricardo Peláez paid homage to the beauty of the natural landscape of his native country of Colombia. Here the landscape is scented with hibiscus, fuchsia, bromeliads, and magnolias. Using nature as inspiration, each of his etchings is composed of a motif. Then, editions of these etchings become an assemblage allowing Peláez to create a 'macro' work from the elemental units of single prints. "
- Miami Art Guide
"Tomorrow Land", digital print on 3M Controltac, Cintex, canvas & metallic paint, 30 x 90 in.
Detail of "Tomorrow Land"
"Gypsy Rose (Homage to Stuart Davis)", 70 x 86 x 3 in., stainless steel & Cintex
"In my experience, moments of awareness in which presence is enlivened with the mystery of absence come unexpectedly. A landscape can be dully defined as tree, grass, and sky, and the next minute with some unintended shift in perception the same landscape is ablaze with mystery, and the words to identify its parts mean nothing anymore. I had such an experience once taking a walk while the evening sky was lavender and pink. In theory I knew that the landscape I inhabited was beautiful, but I was emotionally unaffected by it until a person wearing a pink shirt the exact same color as the sky appeared in the distance. Suddenly, maybe because of the shift in scale and startling sameness of big and small, the world opened up to include absence, and I could see the beauty I’d been missing. Despite the unexpected timing of such awareness-expanding moments, making art can be a practice of responding to, and coaxing into being, for oneself and others, experiences that momentarily transform the world into something unnamable and new.
The sometimes clumsy dance I enact, searching for the right color, wiping away paint, weaving lines through one another, making an edge soft and another hard, hunting for balance and continual motion is shaped by my effort to be aware of absence. I never know what my painting will be when I start, but gradually, if everything goes well and I don’t force things, my marks will find rightness in relation to one another and to the edges of the canvas. Underlying that rightness is both a feeling of familiarity—the colors and forms evoke nature—and a feeling of mystery—the colors and forms defy fixity and weave through one another like absence breathes through the world. Occasionally my rightness rises to exhilarating clarity, and though certain to return to a state of doubt, I reaffirm my faith in painting."
- Karl Pilato
One and Two Person Exhibitions
2015 Bryant Street Gallery, Recent Paintings, Palo Alto, CA
2013 Bryant Street Gallery, Landscape Becoming, Palo Alto, CA
2011 Bryant Street Gallery, Recent Paintings, Palo Alto, CA
2007 Alcove, Ink Paintings, New York, NY
2007 Lepere, Paintings, Drawings, and Prints, New York, NY
2004 Kingston Gallery, Catherine Bowen and Karl Pilato: Paintings, Boston, MA
2004 Mark Gallery, Pogany and Pilato: Paintings and Prints, Cambridge, MA
2003 Butters Gallery, Portland, OR
Selected Group Exhibitions
2015 K. Imperial Fine Art, Art on Paper Fair, New York, NY
2014 Katherine E. Nash Gallery, University of Minnesota, From Beyond the Window, Minneapolis, MN
2014 Bryant Street Gallery, On the Verge, Palo Alto, CA
2014 Fresh Paint, Summer Solstice, Culver City, CA
2014 Athenaeum Music and Arts Library, 23rd Annual Juried Exhibition, La Jolla, CA
2013 Etra Fine Art, Highlights 2013, Miami, FL
2013 Chiaroscuro Contemporary Art, Fall Group Show, Santa Fe, NM
2013 Fresh Paint, Three, Culver City, CA
2012 K. Imperial Fine Art, Aqua Art Fair, Miami, FL
2012 Chicago Art Source Gallery, New Works by Gallery Artists, Chicago, IL
2012 K. Imperial Fine Art, San Francisco Fine Art Fair, San Francisco, CA
2011 Kathryn Markel Fine Art, Illusions of Life, New York, NY
2011 K. Imperial Fine Art, San Francisco Fine Art Fair, San Francisco, CA
2011 Cannon Art Gallery, Juried Biennial, Carlsbad, CA
2010 Fresh Paint, Gathering, Culver City, CA
2010 Chicago Art Source Gallery, Three of a Kind, Chicago, IL
2010 Bryant Street Gallery, Art San Diego-Contemporary Art Fair, San Diego, CA
2009 Dean Jensen Gallery, Big Bangs, Small Bucks 2, Milwaukee, WI
2009 Hiestand Gallery, Miami University, 10th Annual Young Painters Competition Finalists, Oxford, OH (juried by Bob Nugent)
2008 Chicago Art Source Gallery, Out of Focus, Chicago, IL
2008 Lana Santorelli Gallery, Abstraction, New York, NY
2007 The Lobby Gallery at 499 Park Avenue, Surfacing, New York, NY
2007 Portland Art Museum, Stevens Room, Sitka Series, Portland, OR
2007 Heart and Soul Charitable Fund, Inaugural Invitational Art Sale, New York, NY
2006 Visual AIDS, Postcards from the Edge, New York, NY
2005 Washington Square East Galleries, NYU, Small Works, New York, NY
2005 Myerhoff Gallery, MICA, 15 x 15, Baltimore, MD
2005 World Forestry Center, Sitka Invitational, Portland, OR
2004 Mark Gallery, The Gift, Cambridge, MA
2004 World Forestry Center, Sitka Invitational,Portland, OR
2003 The Art Gym, Marylhurst University, Painting Portland, Portland, OR (curated by Robert Gamblin)
2003 Tower Gallery, Mass Art Master Print Series and Alumni Prints, Boston, MA
2003 Cascade AIDS Project Benefit, 13th Annual Auction, Portland, OR
2003 World Forestry Center, Sitka Invitational, Portland, OR
2002 Fulton Street Gallery, Interpreting Landscape, Troy, NY
World Forestry Center, Sitka Invitational, Portland, OR
2001 Bakalar Gallery, Mass Art, MFA Thesis Show, Boston, MA
Copley Society, Annual Student Show, Boston, MA
2000 Bakalar Gallery, Mass Art, MFA Midway, Boston, MA
1998 Maryland Artists Series, Government House, Power Objects in the Here and Now, Annapolis, MD
1998 Lalit Kala Academy, IASG in New Delhi, New Delhi, India
1997 Project Space, 7th Street International, II, Washington DC
"Cascade", oil on canvas, 54 x 54 in.
"Pale Terrain", 36 x 42 in., oil on canvas
"Grey Tree", oil on canvas, 52 x 56 in.
Claudia Quacinella was born in Medellin, Colombia. She has an extensive background in architecture and fine art. She's furthered her artistic practice in the U.S., moving to San Francisco in 1985. Her most recent body of work, entitled the "Fundamental Threading" series, deals with concerns of connectivity between all facets of life. Tied into this concept is the idea of the "aether", what ancient Greeks believed to be the material that fills the region of the universe above the terrestrial sphere. This "immaterial material" was believed to carry light across the immense vacuum of space and the heavens. The interlocking forms that Quacinella depicts across her canvases allude both to heavenly bodies and the cellular forms of microbiology. In presenting the forms without a singular context, she hopes the shapes will bridge ideas both minute and massive in the viewer's mind.
"Interaction #3", 40 x 60 in., acrylic on canvas
"Interaction #1", 40 X 60 in., acrylic on canvas
"Fundamental Threading #4", 16 x 20 in. each panel, acrylic on canvas
Andrea Dasha Reich
Andrea Dasha Reich, born in Prague and schooled in Jerusalem at the Bezalel Academy of Arts and Design, is an international, contemporary abstract artist, residing in the U.S. She has been widely collected and recognized for her masterful works in epoxy resin.
Inspired by the organic shapes and planes in nature, Reich's artworks are a woven interplay of rich color spectrums that explore the depth and intimacy of the abstract world we live in. Her works are an indication of how this prolific multimedia artist sees the world; astonishing beauty, magnificent power and the intense awe-inspiring complexity in nature of which the life and creation of color is born. Through the use of pure pigments and layers of epoxy resins, her works seem to let her visions breathe with motion and fluidity... the crystalline paintings pull you into a mysterious realm of curiosity and surprise.
"I am as affected by the frog I saw yesterday, sitting on the lit globe of my outside light, as I am by the distant memories of a gray hut I once saw in China, or a blue mosaic tile I saw years ago when I lived in Jerusalem."
- Andrea Dasha Reich
2015 Syd Entel Galleries, Safety Harbor, FL
2014 Etra Fine Art, Miami, FL
2012 Art Expo + SOLO, Miami, FL
2012 Etra Fine Art, Miami, FL
2012 Establishment Gallery, NYC
2010 Pismo Gallery, Aspen, CO
2009 Etra Fine Art, Miami, Fl
2009 Pismo Gallery, Aspen, Co
2009 Establishment, New York, NYC
2008 Pismo Gallery, Aspen, CO
2008 Etra Fine Art, Miami, FL
2006 Pismo Gallery, Aspen, CO
2006 Etra Fine Art, Miami, Fl
2005 Pismo Gallery, Aspen, CO
2005 Longboat Key Art Center, Longboat Key, FL
2004 Pismo Gallery, Aspen, Co
2003 Pismo Gallery, Beaver Creek, Co
2003 At the Loft Gallery, Omaha, NE
2002 Pismo Gallery, Beaver Creek, CO
2002 Grohe Signature Gallery, Boston, MA
2002 Free-Form Art Gallery, Sarasota, FL
2001 Pismo Gallery, Denver, CO
1999 Atmosphere Gallery, Soho, New York, NY
1998 Atmosphere Gallery, Soho, New York, NY
"Custo Blue Fusion", mixed media on canvas, 40 x 40 in.
"To Bonnard", 50 x 70 in., multiple layers of epoxy resin on Sintra
From the "Vessels" series, mixed media & epoxy resin, dimensions variable
"Calypso Sunset #1", 24 x 18 in., multiple layers of epoxy resin on Sintra
Encaustic painter Chris Reilly applies molten beeswax, damar resin and pure pigment to a water- colored canvas panel. Using a heat gun and bristle brushes, each brushstroke is fused to the previous layer. A wood chisel is then employed to carve and scrape the surface. For fine lines, an electric wax “pen” is used. The fast drying time and thick translucence make for a spontaneous luminous painting.
Reilly seeks to make works that are objects of contemplation. The stillness of meditation is echoed in the quietude of the finished painting that has undergone a process of creation, destruction and finally preservation. Creatures that transform, such as dragonflies and butterflies, are arranged in a loose grid symbolizing the enduring pattern of regeneration. Branches, laden with blossoms and fruit, stretch across the canvas receiving light and mimicking a human limb. These works are built up with wax and scraped down until a feeling of serenity is achieved.
Chris was born in New York in 1967. He completed his Bachelor of Fine Arts at the School of Visual Arts, New York, NY. He has participated in numerous one and two person shows in galleries nationwide.
SOLO & TWO PERSON EXHIBITIONS
2013 Gail Severn Gallery Ketchum, ID
2012 Meyer Gallery Park City, UT
2011 “new Works” Gail Severn Gallery Ketchum, ID
2010 “new Paintings” Etra Fine Art Miami,FL
2010 “new Work” Winston Wachter Fine Art Seattle, WA
2010 Meyer Gallery Park City, UT
2009 “Buddhamirror” Scott White Contemporary Art, San Diego, CA
2008 “New Work”, Winston Wachter Fine Art, Seattle, WA
2007 Gail Severn Gallery, Ketchum, ID
2007 “Spiral Heart Shell”, Scott White Contemporary Art, San Diego, CA
2006 Winston Wachter Fine Art, New York, NY
2005 Winston Wachter Fine Art, Seattle, WA
2005 Gail Severn Gallery, Ketchum, ID
2004 “create. destroy. preserve.”, Scott White Contemporary, San Diego, CA
2003 Scott White Contemporary Art, Telluride, CO
2001 “Nimbus”, Eyre/ Moore Gallery, Seattle, WA
2001 “Imago”, Scott White Contemporary Art, La Jolla, CA
2001 “Christopher Reilly & Michele Haglund”, Gail Severn Gallery, Ketchum, ID
2000 “Halo”, Avenue Arts, Salt Lake City, UT
1999 Eyre/ Moore Gallery, Seattle, WA
1999 Gail Severn Gallery, Ketchum, ID
1998 “Immanent and Translucent”, R. B. Stevenson Gallery, La Jolla, CA
1997 “Growth and Stillness”, R. B. Stevenson Gallery, La Jolla, CA
1997 “Fossil”, Allen Sheppard Gallery, Piermont, NY
1995 “Creation, Growth, and Dissolution”, The Writing Center, San Diego, CA
1994 “The Nature of Things”, “B” Street Gallery, San Diego, CA
1994 “Stillness”, The Writing Center, San Diego, CA
1989 “Duality in Nature”, School of Visual Arts, New York,
2009 “50 San Diego Artists” Quint Fine Art La Jolla, CA
2008 “Summer in Chelsea”, Winston Wachter Fine Art, New York, NY
2008 “Group Exhibition” Scott White Contemporary Art, San Diego, CA
2002 “Terrain”, Scott White Contemporary Art, Telluride, CO
2002 “Beyond Botanica”, Scott White Contemporary Art, La Jolla, CA
2001 Allan Sheppard Gallery, New York, NYGail Severn Gallery, Ketchum, ID
2000 “Summer Group Exhibition”, SOMA Gallery, La Jolla, CA
1998 “Summer Group Exhibition”, Koplin Gallery, Los Angeles, CA
1998 “A Common Thread”, Gail Severn Gallery, Ketchum, ID
1998 “Animism: Icon, Metaphor, Myth”, Gail Severn Gallery, Ketchum, ID
1997 Gail Severn Gallery, Ketchum, ID
1997 “Winter Group Exhibition”, R. B. Stevenson Gallery, La Jolla, CA
1996 Allen Sheppard Gallery, Piermont, NY
1996 “Summer Group Exhibition”, R. B. Stevenson Gallery, La Jolla, CA
1996 “5th Annual Juried Exhibition”, Athenaeum, La Jolla, CA
1996 Park City Gallery, Park City, UT
1996 Susan Street Gallery, Solana Beach, CA
1995 The Art Institute, San Diego, CA
1993 “B” Street Gallery, San Diego, CAAWARDS
1991 Second Place, Del Mar Fair Painting Exhibit
1989 Francis Criss Memorial Purchase Award
"Buddha Orchids", 40 x 40 in., encaustic on canvas
"Maple Nocturne", 30 x 30 in., encaustic on canvas
"8.5 Butterflies", 25.5 x 25.5 in., encaustic on canvas
"29 Butterflies", 31 x 41 in., encaustic on panel
Diego Santanelli (Naples, Italy, 1965) started his creative path at a very young age. A self-taught artist, his career has been based on explorations of several pictorial techniques. After working for decades as a physician, in 2008 he decided to entirely focus on his oeuvre. In April 2009, Santanelli exhibited a series of works that he called “the spatulas” at the Maninni Gallery, in Naples. Then, in May 2009, he exhibited in Paris at the Espace Pierre Cardin, where he had his official artistic debut with his “Hiddenart” series, a body of works based on the combination of collages and thermosensitive enamels.
His current series “Apocalypse” was born in 2013 as a result of his explorations with different materials during his previous series (Hiddenart). Influenced by Pollock’s action painting, the artist reaches to create a technique that he called “branching” based on the principle of “dripping” vigorous masses of painting onto the canvas, allowing the materials to mix themselves at their will. The canvas is covered with several layers of painting, emulsions, enamels and resins whose trajectory over the pictorial surface Santanelli masterfully controls. His ability to control “the pictorial accident” is the core of these works. The name “branching” comes from the process of superimposing and linking layers of pictorial materials over the canvas surface. The results are rich and robust paintings that recall mystical landscapes.
Santanelli lived and worked in Paris for several years. He exhibited at the Chavals de Sable (June 2009), the Grand Palais (November 2010); the Hippopotamus (December 2010)––where he was guest artist at the Wilson Balda Show. Additionally he exhibited at Maison de Van Gogh Museum (Auvers-sur-Oise) in February 2010; as well as at Galerie de Medicis and at the Circle Jobart Barjot, in March 2010. While in Paris, he exhibited in his native country at the Diocesan Museum, in Mantua (December 2009); at the Chartreuse, in Capri (June 2009); at Castel dell’ Ovo, in Naples (January 2010), at the Saloon of the Congress, in Portocervo (May 2010); at Museo delle Catacombe, in San Genaro, Naples on the occasion of the 150th anniversari of the unification of Italy. He also exhibited at the Museum Saint Rita (September, 2011); the Pirelli skyscraper, in Milan on the occasion of the Salone del Mobile (November, 2011); at ArteFiera, in Bologna (January 2012); at the Ducal Palace of Ferrara (March 2013); the Castel of Saint George, in Mantua (October, 2014); Posillipo Theatre, Naples (March 2015); the Palazzo Ceriana-Mayneri, in Turin (June 2015).
Santanelli’s works have also been exhibited at such international venues around the world as the International Art Centre of Dubai (April 2010); Sao Paulo International Art Fair (April 2011); the Equestrian Order of the Holy Sepulchre of Jerusalem (June 2012); the Museum of Modern Art, in Dubrovnick (September 2013); the Deichtorhallen, in Hamburg (November 2013); Messe Wien Exhibition & Congress Center, Vienna (March 2014), Art Palm Beach, Palm Beach (January 2016), Art Boca Raton, Boca Raton (March 2016), Canale Diaz Artcenter, Miami (Aprile 2016).
His works are part of private and institutional collections in Paris (Espace Pierre Cardin), Milan (Mario Valentino collection), Museum Maison Van Gogh (Auvers-sur-Ois, France), Renato Zero collection (Rome), Museo Diocesano (Mantua), Umjetnika Museum of Modern Art (Dubrovnick), and also in private collections in Dubai, Sao Paulo, Berlin, Munich, Hamburg, Vienna, Dublin, London, Jerusalem and Beijing.
"Apocalypse Zero #7M", enamel on canvas, 60 x 70 in.
"Apocalypse Zero #4MM", enamel on canvas, 59 x 59 in.
"Armonia Zero #1", enamel on canvas, 60 x 40 in.
As a young man, Blu Smith worked as a sign painter and commercial artist, developing his accuracy and precision in painting. However, it was these attributes that Smith came to find restricting -- his mature style as an abstract painter began as an exercise to free himself from the technical restraints of realism. Non-representational work became a creatively freeing direction that evolved his unique voice as an artist.
"I look at my paintings not as individual pieces but rather as a living, breathing and constantly changing body of work. It really does take on a life of it's own," Smith says about his process. His subject matter is based on organic shapes with strong ties to nature, balanced with cavernous spaces that are filled with light so as to glow with an atmospheric quality.
Typically, Smith begins with broad washes and textures, pulling out and developing 3D shapes within the structures. He then attempts to resolve the surface with incisive line drawing. "My work is about the diversity of two different states, the transitions between the two. The real interest lies in bridging the gap between structure and space, foreground and background," Smith explains.
Smith lives in Victoria, on the west coast of Canada, with his wife and young family. He's exhibited work throughout Canada, Europe and the U.S. for several years.
2015 April- The Daffodil Gallery, Edmonton, Canada
2014 September- The Avenue Gallery, Victoria, Canada
2014 February- Kurbatoff Gallery, Vancouver, Canada
2013 September- Webster Galleries, Calgary, Canada
2013 February - The Avenue Gallery, Victoria, Canada
2011 March- The Art Gallery Of Greater Victoria, Canada
2010 April- Gallery at Matticks Farm, Victoria, Canada
2008 February- On Canvas Gallery, Victoria, Canada
2004 November- Hambleton Fine Art, Vancouver, Canada
2002 August- Signature Spaces, Victoria, Canada
2001 August- Romano Deco, Victoria, Canada,
1993 - Pop, Vancouver, Canada
Selected Group Exhibitions
2015 Sept- The Affordable Art Fair, New York U.S.A.
2015 April- Love Art Fair, Toronto, Canada
2012 December- "Red Dot" Art Fair , Miami Fl, USA
2012 March- "Artistic Pairings" Blu Smith and Ron Parker, Avenue Gallery, Victoria
2012 February- "Transcending Reality", Webster Galleries, Calgary Ab
2011 September- "Go Big or Go Home", Avenue Gallery, Victoria
2010 September- "Art in Cognito" Vancouver school of Art, Victoria
2010 February- Nevada Museum Of Fine Art, Las Vegas
2009 December- Florence Biennale, Florence,Italy
2009 February- View St Gallery, Victoria
2008 December- "International Contemporary Masters", California
2008 October- "TransformArt", Vancouver
"Colder Than the Moon", 66 x 72 in., acrylic on canvas
"Doubt the Light", 60 x 66 in., acrylic on canvas, 2015
Fernando De Szyszlo
"Fernando De Szyszlo Valdelomar (born 5 July 1925) is a Peruvian painter, sculptor, printmaker, and teacher who is a key figure in advancing abstract art in Latin America since the mid-1950s, and one of the leading plastic artists in Peru.
Szyszlo was born in Lima, Peru; his mother was Peruvian of Spanish-Indian descent, and his father a geographer from Poland. In 1943, Szyszlo entered the architecture school of theNational University of Engineering, but abandoned plans to follow that profession and enrolled in the School of Plastic Arts of the Pontifical Catholic University of Peru. After his graduation in 1948, he traveled to Europe where he studied the works of the masters, particularly Rembrandt, Titian and Tintoretto, and absorbed the varied influences of Cubism, Surrealism, Informalism, and abstraction. Szyszlo lived in Paris and Florence from 1948 to 1955, and then returned to Peru.
While in Paris he met Octavio Paz and André Breton and was part of the group of expatriate Latin American artists and writers who met regularly at the Café de Flore, engaging in vigorous discussions on how they could participate in the international modern movement while preserving their Latin American cultural identity. Upon his return to Peru, Szyszlo became a major force for artistic renewal in his country breaking new ground by expressing a Peruvian subject matter in a non-representational style. In 1962, he became a professor of art at Cornell University. In 1965 he became a visiting lecturer at Yale University. Szyszlo was married to the Peruvian poet Blanca Varela (1926–2009), with whom he had two children. He currently lives and works in Lima."
"Mar de Lurín", 40 x 59 in., etching
Francisco Benjamín López Toledo (b. 17 July 1940, Juchitán, Oaxaca) is an important Mexican graphic artist. He studied at the Escuela de Bellas Artes de Oaxaca and the Centro Superior de Artes Aplicadas del Instituto Nacional de Bellas Artes, Mexico, where he studied graphic arts with Guillermo Silva Santamaria.
His social and cultural concerns about his home state led to his participation in the establishment of an important art library at the IAGO, and his involvement in the founding of the Museo de Arte Contemporáneo de Oaxaca (MACO), the Patronato Pro-Defensa y Conservación del Patrimonio Cultural de Oaxaca, a library for the blind, a photographic center, and the Eduardo Mata Music Library to name a few of his projects. Toledo's outstanding creativity has been expressed in pottery, sculpture, weaving, graphic arts, and paintings. He has had exhibitions in Argentina, Brazil, Colombia, Ecuador, Spain, Belgium, France, Japan, Sweden, the United States, as well as other countries. Toledo is simultaneously an exceptional artist and a patron and guardian of the arts and the crafts and architectural heritage of his state of Oaxaca.
"Woman and Horse", 10 x 13.5 in., watercolor
"Horse and Jockey", 10 x 14 in., watercolor
"My work, intimately bound to this tradition of spirituality, is undertaken within a constant search for transforming internal vivid, sometime revelatory, experiences into a language that manages to convey it.
Through series such as “Origins (Orígenes)”, “Word Silenced (La Palabra Callada)”, “Primeval Forms (Formas Primarias)” and now “Shape and Void (Forma y Vacío)” I am trying to unveil an intimate experiential vision by way of form, color, symbol and, at times, language.
In my work I strive to imbue in the viewer an attitude of contemplation at an intuitive level, requiring their active participation in order to be able to covey the spiritual and, simultaneously, the palpable content of the work.
We could compare it to a mystical experience.
The mind in silence, the heart in anticipation, these are the circumstances for drawing more closely to the experience we wish to transmit.
Spirituality in contemporary art fights an internal struggle between the will of society driving us towards conventional communication via the overwhelming use of the images of the world, and the personal will of the artist to communicate a purely spiritual experience.
At present the viewer is passive and needs art which astounds and agitates, art which must be active and transmits its content with immediacy, easily readable and preferably impactful."
- Fernando Varela
SELECTED SOLO EXHIBITIONS
2014 “Recent Works: Drawings and Paintings” – Espacio 7, La Romana, Dominican Republic.
2013 “Origins and Primary Forms” – Museum of Modern Art, Santo Domingo, Dominican Republic.
2012 - “Origins and Primary Forms” – Gallery of the Mayor’s Office. Parallel Exp. XI Biennial of Cuenca. Ecuador.
“Origins and Primary Forms” – Metropolitan Center – Museum, Quito, Ecuador.
2011 “Origins and Primary Forms” – Museum of Anthropology and Contemporary Art (MAAC), Guayaquil, Ecuador.
2010 “Caribes” – Catador Exhibition Spaces, Santo Domingo, Dominican Republic.
2009 “Recent Works” - TheDistrict, Gallery, Santo Domingo, Dominican Republic.
2008 “Sueños Frágiles” - Varelli,contemporary Art - Gallery – La Romana, Dominican Republic.
2007 “Espacios Alternos” - TheDistrict, Gallery, Santo Domingo, Dominican Republic. 2006 -
“La Palabra Callada” Museum National of Visual Art – Montevideo, Uruguay. -
“La Palabra Callada” – Varelli,contemporary Art - Gallery, la Romana, Dominican Republic.
2005 - “La Palabra Callada” – Museum of Modern Art, Santo Domingo, Dominican Republic. -
“La Islaaisla” Varelli, contemporary Art -Gallery– La Romana, Dominican Republic.
SELECTED GROUP EXHIBITIONS
2007 Arteamericas Fair ,Varelli,contemporary Art – Gallery. Miami U.S.A. 2006 “Black and White” - District –Gallery Santo Domingo, Dominican Republic.
“Water” Varelli, contemporary Art, Gallery La Romana, Dominican Republic.
2005 “Black and White” Varelli, contemporary Art Gallery - la Romana, Dominican Republic.
2004 “Arte del Caribe hoy” Galería Sin Titulo – San Juan, Puerto rico
“Now”,dominican contemporary Art
”Varelli Gallery – La Romana
2002 “Drops to Drops” Lyle O. Reitzel Gallery – Santo Domingo, Dominican Republic.
2000 “The Circle get close” Dominican contemporary Art – New Cork, city collage, U.S.A. Grand.Fair. Constrast Gallery – Gand, Bélgica.
1999 Herning Fair – Buchelhax, Gallery – Herning, Dinamarca.
“Joseph Beuys was here” Saw Gallery – Ottawa, Canadá.
“Caribean insular” – Exclusión, Fragmentación y paraíso” Museo entremeño e iberoamerican of contemporary Art, Badajoz, Spain.
1998 Bienal of Cumaná, Venezuela. “Carivista” Caribbean contemporary Art – Bridgeston, Barbados.
1997 Estrasburgo Fair, Contrast Gallery – France. “Incide Projetion” – Kassel, Alemania. Copenhagen Fair, Buchelhax Gallery– Copenhagen, Dinamarca.
1996 “Modern and contemporary Art of the Dominican Republic” Ameritas Society New Cork, U.S.A.
"Modern and contemporary Art of the Dominican Republic” Bass Museum – Miami, U.S.A.
“Three Caribbean Artists” La Galería – Quito, Ecuador.
Copenhagen Fair , Buchelhax Gallery – Copenhagen, Dinamarca.
"Forma y Vacio E.2-16", mixed media on paper, 22.5 x 22.5 in.
"Forma y Vacio 0.18-16", oil on canvas, 32 x 33 in.
"Forma y Vacio E.1-16", mixed media on paper, 22.5 x 22.5 in.
"Every object has an inside; from the beginning of my work as an artist, my endeavor has been to investigate that inner space.
For many years I insisted almost obsessively on using orthogonal forms, right angles, as my point of departure being that straight lines do not exist in nature. I was intrigued by the contrast of the curvaceous versus the straight, the natural as opposed to the purely rational, and, convinced of the enormous formal possibilities I could find there, my quest moved in that direction.
Then, almost imperceptibly I began to move toward curvy forms, which, although in appearance may seem organic, they are from start to finish, rationally generated; there is nothing in these forms not dictated by geometry; nothing left to chance, nothing accidental. Everything follows a mathematical plan from the original conception through the making and the final result.
I have never believed in inspiration alone. I believe that only through the work itself do concrete, precise, clear ideas emerge. My creative work is no different from that of the architect, the mathematician, or the laborer. There is no question in my work of simply thinking up a brilliant idea but rather, facing a multitude of problems and challenges to be solved within limitations of means and possibilities. Thus one work, or one problem, leads me to another, and from there to others, because any one work always generates expectations and new possibilities to explore.
As a sculptor I aspire to uncover the beauty, harmony and simplicity of matter. The materials I work with interest me for their solidity, resistance, fragility and nobility. Each one of them must express itself and establish a dialogue with the others. The nature of the materials has always concerned me: the skin, as it were, the processes of rusting and the transparencies. The relationships of the materials, their affinities and antipathies are what generate the making of the works."
- Ronny Vayda
ONE MAN EXHIBITIONS
2010 “An Experience with Geometric Forms”. Nathan D. Rosen Museum, Boca Raton, Florida.
2009 “Oración Geométrica”. Galería Naranjo & Velilla, Medellín
2006 “Sintagmas”. Galería Sextante. Bogotá.
2003 “Códigos Diáfanos “ Galería La Oficina. Medellín
1999 "Denominación de Origen”. Sala Suramericana. Medellín
1997 FIA Galeria Alonso Arte. Caracas Venezuela
1996 Mirarte. Recinto Ferial Centro Financiero. Avenida Chile. Bogotá
1996 FIA Galería Sextante Caracas Venezuela.
1995 Ronny Vayda Escultor . Museo de Arte Moderno. Bucaramanga.
1994 Ronny Vayda Esculturas. Universidad Nacional. Sala Germán Arciniegas. Manizales.
1993 Sables y Yelmos. Galería el Museo Santafé de Bogotá.
1992 Sables y Yelmos. Galería de la Oficina. Medellín.
1988 Esculturas Urbanas. Museo de Arte Moderno. Medellín.
1987 Galería de la Oficina. Medellín. (Marín - Vayda)
1983 Galería Garcés Velásquez. Santafé de Bogotá. (Rojas - Vayda)
1982 Galería de la Oficina. Medellín. (Castles - Vayda).
1982 Galería de la Oficina. Medellín. (Negret - Vayda).
1980 Galería de la Oficina. Medellín.
SELECTED GROUP EXHIBITIONS
2014 Art Palm Beach, with (Art) Amalgamated Gallery, New York. Palm Beach County Convention Center. Palm Beach, Florida.
2014 Art Wynwood. with (Art) Amalgamated Gallery, New York. The Art Miami Pavillion. Miami, Florida.
2013 The Marvelous Real Colombia Though The Visions of Its Artist.
2013 American Development Bank. Cultural Center. Washington D.C.
2013 Spectrum Art Fair. Current Group USA / Art Projects. Miami, Florida
2012 The Expressions of Life. Raibow Art Gallery. Shanghai. China.
2012 Esculturas en la Colección del MAMBO. Museo de Arte Moderno. Bogotá.
2012 ColeccionesMUUA. Museo de la Universidad de Antioquia. Medellín.
2011 Shanghai Art Fair. Shanghaimart. Shanghai. China.
2011 Maestros. Galería Naranjo & Velilla. Medellín.
2011 Vitales / Inertes. Galería La Cometa. Bogotá.
2010 Arte en América, Identidades y Transformaciones. Museo Casa de La Moneda. Santiago de Chile.
2010 Lo Ambiguo // Lo Abstracto. Museo de Arte Moderno. Medellín
2010 Dorado, Fondo Internacional de las Artes FIART. Madrid, España.
2009 Medellín, Art & Development. Inter American Development Bank. Cultural Center. Washington D.C.
2009 Corte / 50. Museo de Arte Moderno.
2009 Bilateral Engagement. The Art Museum of The Americas. Washington D.C.
2008 Palm Beach 3. ETRA Gallery. Palm Beach County Convention Center. Palm Beach.
2008 Extended Boundary: Latin American and Caribbean Artist in Miami. The Cultural Center of The Inter-American Development Bank. Washington D.C.
2008 Arte Abstracto. Segunda parte: 1975 – 2007. Sala Suramericana. Medellín
2008 10 Años. Galería Olivier Debré. Alianza Colombo Francesa. Medellín
2007 Arte Colombiano en la Colección del Museo de Arte Moderno Años 60-00. Bogotá.
2007 “Formas Divergentes”. Galería Montealegre. Bogotá.
2007 Arteamericas. Remy Toledo Gallery. Miami Beach Convention Center. Miami Beach.
2007 Palm Beach 3. ETRA Gallery. Palm Beach County Convention Center. Palm Beach.
2007 “Pinta”.The Contemporary Lati American Art Fair. Praxis International Art. Metropolitan Pavillion. New York.
"Box", crystal, 4.75 x 4.75 x 4.75 in.
"Flat Green", 6 x 5 x 6 in., iron & crystal
"Green Spike", 6 x 5 x 6 in., iron & crystal
"On a splendid field that supplies the color, forms and lines glide, creating an implacable logic that produces a different rationality, far from the Cartesian rationalism that was the starting point. The process that has been unleashed is gleaned from the different pieces that make up the paintings; however, strictly speaking, we are only looking at one oeuvre. Thus, an exhibition of this series in its totality turns out to be indicative and telling of the exceptionality of Mario Vélez’s work process. The plane is irrigated by permutations, articulations, withdrawals and a large number of elements that create pictorial inscriptions, like a kind of graphic symbol that undergoes a controlled explosion throughout an expanse of forms.
After we have examined the entire series and ruminated upon it all for some time, the field of color that has traditionally been called background is what stands out in our memory. That means that there is no surface on which lines, planes and forms are inserted; instead, that surface is also a figure. Walter de María expressed it very well: “The terrain is not the scene of the work, it is part of it.” Like a never-ending horizontal band, the oeuvre allows us to look at its persistent journey; but at the same time, those flat, sharp, irregular forms also look back at us. Ultimately, Vélez’s works leave us with a silent aura, some traces, some imprints, in which incoherence, far from being a defect, is an accurate affirmation of the randomness of life."
- Luis Fernando Valencia
SELECTED SOLO EXHIBITIONS
2012 Mario Vélez - Pinturas y dibujos. Knoerle & Baettig Contemporary fine art. Winterthur, Suiza.
2011 Geografías corporales. Museo de Arte de Tolima MAT. Ibagué, Colombia.
2011 Kunst Messe Zurich, PXL Art Gallery. Zurich, Suiza.
2011 Mario Vélez - Pinturas. ARV Art Gallery. Hamptons, NY. EE. UU.
2011 Internal Migrations. Bridge Gallery. Nueva York, EE. UU.
2011 Internal Migrations. Etra Fine Art Gallery. Miami, EE. UU.
2010 Migraciones interiores. Sala de Arte Suramericana. Medellín, Colombia.
2010 Migraciones interiores. Galería Arteconsult. Ciudad de Panamá. Panamá.
2010 We are not made of sugar. Bridge Gallery. Nueva York, EE. UU.
2010 Evidencias. Etra Fine Art Gallery. Miami, EE. UU.
2009 No somos de azúcar. Alonso Garcés Galería. Bogotá. Colombia.
2009 Mario Vélez, Monochromatic Drawings. Promo-Arte Gallery. Tokio, Japón.
2009 Guerras Pequeñas. Etra Fine Art Gallery. Miami, EE. UU.
2008 Mario Vélez, Paintings, William Merrill Gallery. Laguna Beach, CA., EE. UU.
2008 Mario Vélez, Drawings, Bridge Gallery. Nueva York, EE. UU.
2008 Mario Vélez, Dibujos. Alonso Garcés Galería. Bogotá, Colombia.
2008 Espacios Vulnerables. Etra Fine Art Gallery. Miami, EE. UU.
2007 Horizontal - Vertical. Etra Fine Art Gallery. Miami, EE. UU.
2007 Los caminos dorados. Museo de Arte Moderno. Medellín, Colombia.
2007 Presentación del libro Los caminos dorados. Museo de Arte Moderno. Medellín, Colombia.
2007 The Golden Paths. Etra Fine Art Gallery. Miami, EE. UU.
2006 Possessions. Etra Fine Art Gallery. Miami, EE. UU.
2006 Posesiones. Alianza Francesa. Medellín, Colombia.
2005 Things That Kill. Etra Fine Art Gallery. Miami, EE. UU.
2005 Mario Vélez, Pinturas. Festival Internacional de la Cultura, Palacio
SELECTED GROUP EXHIBITIONS
2012 Hombre, naturaleza y fauna. Galería Arteconsult. Ciudad de Panamá. Panamá.
2011 Highlights for 2012. Etra Fine Art Gallery. Miami. EE. UU.
2011 Summer Exhibition. Etra Fine Art Gallery. Miami. EE. UU.
2011 Miami International Art Fair. Etra Fine Art Gallery. Miami, EE. UU.
2010 Oltre Oceano: Botero, Marín, Vélez, Fonzo. Barbara Paci Gallery. Pietra Santa, Italia.
2010 Latin American Masters. Etra Fine Art Gallery. Miami, EE. UU.
2010 Works on paper. Bridge Gallery. Nueva York, EE. UU.
2010 Colectiva Latinoamericana. Galería Arteconsult. Ciudad de Panamá, Panamá.
2010 Miami International Art Fair. Etra Fine Art Gallery. Miami, EE. UU.
2010 10th Latin American Contemporary Art today. Promo-Arte Gallery. Tokio, Japón.
2009 Mario Vélez and Yoko Iwanaga. Etra Fine Art Gallery. Miami, EE. UU.
2009 Abstractos latinoamericanos. Galería Arteconsult. Ciudad de Panamá.
2008 Highlights. Etra Fine Art Gallery. Miami, EE. UU.
2008 Alianza Francesa 10 años. Galería Oliver Debre. Medellín, Colombia.
2008 ARTBO. Feria Internacional de Arte de Bogotá, Alonso Garcés Galería. Bogotá, Colombia.
2008 Arte Abstracto en Colombia. Sala de Arte Suramericana. Medellín, Colombia.
2008 Pinturas. Galería Armory de Arte Contemporáneo. Perugia, Italia.
2008 Extended Boundary. Galería del centro cultural del Banco Interamericano de Desarrollo. Washington D. C. EE. UU.
2008 Palm Beach 3. Etra Fine Art Gallery. Miami, EE. UU.
2007 Dibujo colombiano del siglo XX. Galería la Cometa. Bogotá, Colombia.
2007 Highlights. Etra Fine Art Gallery. Miami, EE. UU.
2007 Palm Beach 3. Etra Fine Art Gallery. Miami, EE. UU.
2007 MoLAA award exhibition 2007. Museum of Latin American Art. Los Ángeles, EE. UU.
2007 Infinite Lines. Promo-Arte Gallery. Tokio, Japón.
2006 Herbst-Winter Kollektion. Ariadne Gallery. Viena, Austria.
2006 Kunstler der Galerie. Ariadne Gallery. Viena, Austria.
2006 Large Formats. Etra Fine Art Gallery. Miami, EE. UU.
"Siembra Vertical Con Senda Infinita", 94.5 x 80 in., mixed media
"Interior Migrations", 79.5 x 94.5 in., mixed media on canvas
"Possessions", 67 x 71 in., mixed media on canvas
"To express myself freely is the most important thing for me in life, and I've been doing that through art since I was 20. I'm determined to follow up this path I've chosen at a very young age, until the end of my life. I define my goal in life as acknowledging, composing and extending myself. The world of art serves me to reach this. My relation with the viewer makes my dreams and my life meaningful. If you ask me the meaning of my existence I would say awareness and creating. I accept myself as I am and I respect that. My greatest weapon in life is to embrace the unknown. My mission above all is knowing myself and to share my work with people. My admiration for nature gives me infinite energy and my nature helps me to hold on to life with joy. As I have always said, everything is the result of a choice we make.
And I chose to be happy."
- Yigit Yazici
LA Art Show, Tally Beck Contemporary, LA, USA
Art14, London, UK
Menase Art Fair, Arton56th gallery , Beirut, Lebanon
Texas Contemporary Art Fair, Tally Beck Contemporary, Houston, USA
Freeand 90, GroupShow, Consulate General of Turkey, Berlin
ArtMRKT San Francisco, Tally Beck Contemporary, USA
Contemporary Istanbul Art Fair, Art on 56th, Istanbul
PeaceUnlimited,Solo Show, Gallery AP87, Den Haag, Netherlands
E-Cosi, Solo Exhibition, Linart, 25 April – 25 May, Istanbul
Layers of a Tale, Solo Show, Art on 56th, 28 February – 20 March, Beirut, Lebanon
Nobody’s Business But TheTurk’s, Solo Show, TallyBeckContemporary, 14 November – 6 January, New York, USA
Menase Art Fair, Arton56th gallery , Beirut
AbsolutVotka IstanbulBottle – Special Edition, Launchparty, Anjelique, April 4, Istanbul
Art Asia Miami Fair, TallyBeckContemporary, 5 – 9 December, Miami, USA
ArtMRKT, Tally Beck Contemporary,San Francisco USA
Pop Art Extended, September 15 - October15, Alan Istanbul/ Linart, Istanbul
The Istanbul Summer Exhibition, June 8 -July 15, Antrepo 5, Istanbul
Next Artfair, Tally Beck Contemporary, Chicago USA
Art Asia Miami Hat Art Fruit, December 1-4 , Miami USA
ContemporaryIstanbul, 24-27 November, Bali Art Gallery, Istanbul
Contemporary 2, Groupexhibition, 17 Nov – 10 Dec, Bali Art Gallery, Istanbul
Art AsiaMiami,TallyBeckContemporary, December 1-4, Miami USA
Look into your self, Solo Show, Bali Art Gallery, 7-18 October, İstanbul
Oksijen, Solo Show, La Table de Tee Tally Beck Contemporary, Bangkok Thailand
Yigit Yazıcı Painting Exhibition, Armoni Art Gallery, March 12 – April 5, Ankara
Art Asia Miami Hat Art Fruit, December 1-5, Miami, USA
Asian Art 2010 Tally Beck Contemporary, October New York, NY USA
Scope Art Fair, Hat ArtFruit, June 8–14, Basel, Switzerland
Nadia Arditti – Yiğit Yazici, April 30–May 21, Ankara, Turkey
Scope ArtAsia Fair, Hat ArtFruit, December 2–6, Miami USA
Color of the Cities, Solo Show, Çırağan Palace Kempinski, Çırağan Kempinski, Istanbul
Yiğit Yazıcı & Nadia ArdittiPaintingandSculptureExhibition, Lebriz.com & Dem–Art, Citys, İstanbul
Scope ArtAsia Art Fair, Art & Life Gallery, December 3–7, Miami USA
Solo Exhibition, Gallery G–Art, İstanbul
Contemporary İstanbul, Art & Life Gallery, İstanbul
Portraits, Art at Akmerkez 5, Artdepo, İstanbul
Art at Akmerkez 4, Artdepo, İstanbul
Come on Girls to School, Creamart Gallery, İstanbul
My Family, Solo Exhibition, Article Art Gallery, İstanbul
Contemporary İstanbul, Article Art Gallery, İstanbul
Art is Love, Creamart Gallery, İstanbul
Creamart Gallery, Solo Show, İstanbul
Art at Akmerkez 3, Artdepo, İstanbul
40 Days 40 Nights Love, Passage Markiz Art Gallery, İstanbul
Tüyap Art Fair, Gallery Artist Çukurcuma, İstanbul
The Place I was Born, Solo Show, Zafer Plaza, Bursa
Art–Ist Art Fair, Portart Art Gallery, İstanbul
Art at Akmerkez 2, Artdepo, İstanbul
Solo Show, Gallery Artist Çukurcuma, İstanbul
Esthetic Scale in Comtemporary Turkish Painting, Gallery Baraz, İstanbul
Art at Akmerkez 1, Artdepo, İstanbul
Meeting, Turuncu Art Gallery, Bodrum
SketchBooks, Panini, Mayadrom, İstanbul
Feeling and Thought, A Sanat, İstanbul
1+ 1, Bebek Art Gallery, İstanbul
"RTU204515", 43.5 x 43.5 in., acrylic on canvas, 2015
"RTU 2027015", 47.25 X 47.25 in., acrylic on canvas
"RTU207315", 59 X 59 in., acrylic on canvas, 2015
"RTU207415", 70.75 X 78.75 in., acrylic on canvas, 2015
"RTU207615", 47.25 X 86.50 in., acrylic on canvas, 2015