Martin Waugh
Liquid Sculpture images are fluids in motion, frozen in time by a flash of light.
They are droplets witnessed in mid-splash.
I orchestrate these sculptures by accurately aiming the drops and releasing them with precise timing. As
nature takes its course, I photograph the unfolding forms using a digital camera and electronic flash. I
instigate the myriad of shapes by varying the drops' trajectories and manipulating their physical
properties. Color, viscosity, and surface tension are controlled with dye, glycerin, and soap. Fluids in
motion fascinate my senses. I feel their smooth and effortless curves: structures reflecting a perfect
balance of dynamic forces. They tickle some faint physical memory, like a scent evoking a forgotten mix of
feelings.
I am currently working on several custom assignments, as well as preparing to take stereographic photos
of the sculptures. This will allow the viewer to better understand the shapes and see additional detail.
Please feel free to contact me with questions, queries, suggestions or musings.
Martin Waugh
martin@liquidsculpture.com
Liquid Sculpture images are fluids in motion, frozen in time by a flash of light.
They are droplets witnessed in mid-splash.
I orchestrate these sculptures by accurately aiming the drops and releasing them with precise timing. As
nature takes its course, I photograph the unfolding forms using a digital camera and electronic flash. I
instigate the myriad of shapes by varying the drops' trajectories and manipulating their physical
properties. Color, viscosity, and surface tension are controlled with dye, glycerin, and soap. Fluids in
motion fascinate my senses. I feel their smooth and effortless curves: structures reflecting a perfect
balance of dynamic forces. They tickle some faint physical memory, like a scent evoking a forgotten mix of
feelings.
I am currently working on several custom assignments, as well as preparing to take stereographic photos
of the sculptures. This will allow the viewer to better understand the shapes and see additional detail.
Please feel free to contact me with questions, queries, suggestions or musings.
Martin Waugh
martin@liquidsculpture.com
AleatoricArt creator J. Coleman Miller was born in the
heart of the Pocono Mountains in Pennsylvania into a family steeped in
the arts. Summer art camps, trips to museums, art classes, and a
host of relatives who were actors, painters, musicians, radio station
disc jockeys, inventors and more were a constant source of
inspiration to the artist, whose education and practical experience in
art was well rounded by the time he left high school. With an
insatiable appetite for knowledge and a mean artistic streak, Miller
creates beauty every day of his life in the form of music, photography,
culinary arts, interior design, furniture, mosaics, and whatever else he
can get his hands on.
The new “Aleatoric Photographic Abstract” project has won great
approval in the art world after its debut early in 2007. Miller has
combined seldom used ancient aleatoric principles and today’s digital
equipment to produce one of the most creative and thought
provoking collections in contemporary art today. The large digital
giclee prints are wonderfully presented on canvas, and have a
painterly feel that belies the actual fact that these are all photographic
images.
ARTIST STATEMENT
I hope that my work will inspire others to investigate the aleatoric arts,
and learn about the concepts of the ever changing world as an art form.
Some artists look so hard to re-create, and sometimes seem unhappy
with the results… I want to show how art by chance can be so rewarding
to these creative spirits, and to show them the inspiration that comes so
willingly out of the elements of the earth.
During the creation of my new collection, I have developed a bit of an
understanding of the “chance” arts that have been practiced for
thousands of years. I have even taken this concept to the music studio,
where I have composed new music using an aleatoric approach, like the
ones used by the great John Cage. I am thrilled to have found this
medium, and have a much greater appreciation of artists that I had
previously loved for no apparent reason. I have found that Pablo
Picasso, my favorite, thought much the way I do. I can appreciate my
admiration for Leonardo DaVinci, Joan Miro, Keith Luke, Jackson Pollock,
and The Dadaists so much more now, and I am blessed to have found
Wang Mo, Jean Arp, and Andre Masson along the way.
J. Coleman Miller
| Kseniya Nelasova, practices her craft in St. Petersburg, Russian Federation, and in addition to her absolutely stunning paintings, this madly creative and accomplished artist has a passion for textiles. Our search ended up here because of an incredible collection called Changeability and Continuity, one of the thousands of portfolios we reviewed, with it's dreamy landscapes of intricately woven fabrics and other media. The concept of taking small sections of the larger pieces and assigning titles to them is a stroke of genius that AleatoricArt has not seen before... This is truly an artist to watch. Ksenia arrived in her last incarnation in Perm, Russia in 1976. Her passion and talent for producing fine art led her to graduate from the prestigious Stigltz Academy of Art and Industry in St. Petersburg. Nelasova takes advantage of her skills and vast knowledge of art in her daily exploits as a textile artist, wallpainter, batik masterclass leader, drawing teacher and publishing house art director, where she has produced books for children and also works as a poetry illustrator. Her bio includes a mysterious entry, filznadel master, something that you will be best advised to contact the master herself for an explanation. For more on this great artist, go to her WEBSITE. |
Howard Pugh attended U.C Berkeley and San Jose State University where he
majored in music and minored in Philosophy. By trade, he is a graphic and web designer,
software engineer and abstract photographer. His photography has been exhibited in
several solo and group shows in the San Francisco bay area. He currently lives in
Hayward California.
As an artistic guideline, Howard conciously avoids appareling his images with trendy
decorative styles or whimsical devices, opting instead for the less adorned, naked
portrayal of his subjects, lending them greater authenticity, and ultimately, he feels, a
universality. The quest for implicit archetypes or meta-archetypes is at the core of each
image's design.
ARTIST'S STATEMENT
"Just because the symbolic elements in my photography tend to be biased toward the
unintelligible does NOT make them less meaningful. Indeed, it is from that great ocean
of the unintelligible — swamping our daily awareness with menacing regularity — that
dreams emerge, visions haunt us, and spiritual hallucinations eat away at the margins.
Here is where the extraterrestrials are telegraphing us frantically, in every asymmetry
and syncopation that nature can throw"
majored in music and minored in Philosophy. By trade, he is a graphic and web designer,
software engineer and abstract photographer. His photography has been exhibited in
several solo and group shows in the San Francisco bay area. He currently lives in
Hayward California.
As an artistic guideline, Howard conciously avoids appareling his images with trendy
decorative styles or whimsical devices, opting instead for the less adorned, naked
portrayal of his subjects, lending them greater authenticity, and ultimately, he feels, a
universality. The quest for implicit archetypes or meta-archetypes is at the core of each
image's design.
ARTIST'S STATEMENT
"Just because the symbolic elements in my photography tend to be biased toward the
unintelligible does NOT make them less meaningful. Indeed, it is from that great ocean
of the unintelligible — swamping our daily awareness with menacing regularity — that
dreams emerge, visions haunt us, and spiritual hallucinations eat away at the margins.
Here is where the extraterrestrials are telegraphing us frantically, in every asymmetry
and syncopation that nature can throw"
David Lancaster has been a professional photographer since the 1970's. He has
photographed for corporations, advertising agencies and film production companies in New
England, the American Southwest and Europe. In 2003 David returned to his home in
Massachusetts and on observing his immediate surroundings began the Meditations on
Nature series of images. The artist is admittedly sometimes hard to dislodge from personal
projects like the recent ice portfolio. The photographs made during this period record nature
itself suggesting artistic motifs: the strain of a crack in the ice, the vivid red petal of a tulip
revealed through the frozen surface, and the flux of time and the elements muting the
original beauty of the flower. This microcosm of an otherwise unnoticed world reflects an
ever-moving dance, and the images encourage us to observe both the energy and the
minute details of nature. Through them we can meditate on our relationship with nature, too
often forgotten in an increasingly frantic world.
Lancaster's work has been exhibited throughout the US, and is held in several private
collections. Be sure to visit David's WEBSITE to see more of his fine work.
photographed for corporations, advertising agencies and film production companies in New
England, the American Southwest and Europe. In 2003 David returned to his home in
Massachusetts and on observing his immediate surroundings began the Meditations on
Nature series of images. The artist is admittedly sometimes hard to dislodge from personal
projects like the recent ice portfolio. The photographs made during this period record nature
itself suggesting artistic motifs: the strain of a crack in the ice, the vivid red petal of a tulip
revealed through the frozen surface, and the flux of time and the elements muting the
original beauty of the flower. This microcosm of an otherwise unnoticed world reflects an
ever-moving dance, and the images encourage us to observe both the energy and the
minute details of nature. Through them we can meditate on our relationship with nature, too
often forgotten in an increasingly frantic world.
Lancaster's work has been exhibited throughout the US, and is held in several private
collections. Be sure to visit David's WEBSITE to see more of his fine work.
| Alex Volborth has some History... From childhood, the visual arts and sciences were my main attractions. Our large house near Viipuri in Finland (now Vyborg, Russia), our 'dacha', was full of great portraits and paintings. Both my aunts and my mother had studied art in St. Petersburg and Paris, my grandfather from my mother's side had been a traveler and publisher of art books, and the walls of many rooms were lined by bookshelves with rare books and encyclopedias; mostly in Russian, German, and French. There also was one forbidden library room, to which my sister and I soon found the keys. Comfortable sofas stood in the libraries where we spent much time reading. My father, retired Colonel of the Russian Semyonovsky Leibgarde Regiment, had earned a doctorate in Organic Chemistry in Bonn, Germany, but now was an asthmatic, and unable to work in industry. This permitted him to teach my sister and I at home all the subjects required in order to pass external exams. This background, I believe, enabled me to successfully graduate from the University of Helsinki with eximia cum laude and a doctoral degree in Geology, Mineralogy, and Inorganic Chemistry. The high grades resulted in a grant to do my post-doctoral studies at the Universities of Vienna, Heidelberg, and at California Institute of Technology, from where I was invited to the University of Nevada, Reno. I have served there as Head of the Nevada Mining Analytical Laboratory, Mineralogist of the State and Professor of Geochemistry. There I received the Guggenheim Fellowship. Later, as Professor of Geochemistry at the University of North Dakota, and as visiting professor at The University of California, Irvine; Killam Professor at the Dalhousie University in Halifax, Canada; and the University of Washington, Pullman; and finally at 'Montana Tech' of the University of Montana system, where I served also as Director of The Fast-Neutron Activation Laboratory, the Senior Radiation Safety Officer, and Professor of Engineering Geology, when I retired. My work permitted me to travel, consult, and lecture widely in Europe, Australia, Africa, Japan, and the Americas (Brazil); Consulting for Canadian and US mining companies especially in Russia, Kazakhstan, India, Iran, Egypt, Saudi Arabia, Nigeria, South Africa, and the USA, I have had considerable opportunity to see much 'rock' and when lecturing in cities always had reserved enough time to visit and spend considerable time in museums, especially art museums! I never forgot my old love for visual art, sculpture, history, Archeology and pre-history. I especially cherished the opportunity to spend unhurried time in Egypt, Greece, Sicily, Italy, Spain, France, Saudi Arabia, Jordan, and Iran. The Southern Nevada landscapes, and red sandstone and the caves of the Mohave desert, and some rocks I photographed there, remind me of the Martian 'blueberries'! (see the Louise Bourgeois' Avenza and her 'The Destruction of the Father"). And, the Mohave fine dark dust covering the desert floor, reminds me of the lunar surface with its black 'soil' or 'dust' which I have studied from Apollo samples. The Montana Stillwater area, where I have done my latest work with the platinum-palladium deposits, naturally also have become my favorites. Surfaces, surfaces, surfaces, flashing at us their fully random compositions and always varying colors, forms, lines, and ghost-like images - scratched by the Indian tribes already long disappeared. Surprises, surprises that one finds on subsequent visits! Just as if the ground, the desert floor is living and breathing at us its always changing appearances. |
Photo/Charles Waugh
Qubais Reed Ghazala's pioneering work with circuit-bending
(modification via chance short-circuiting of low-voltage audio circuits) has
become a contemporary standard in chance music and instrument design,
offering aleatoric composition possibilities beyond the pseudo-random
algorithms of "randomization" encountered in most synthesizers, signal
processors or sequencers.
Reed Ghazala is, as well, a self-taught, self-executed, self-exiled
multi-media artist. As the explorer of Reed's web pages will quickly
discover, all of Reed's work --visual, audio, musical instrument design and
writing-- reflects an unusual thinking-space. Reed not only bends the
rules; more so, he makes up (and publishes!) his own. Perhaps this might
take shape in musical instruments that conduct electricity through their
players. Or those that are controlled by hand shadows and produce
chance music. Fantastic landscapes of never-never worlds might rise out
of reconsidered film stock. Digital mediums might resolve at atomic level.
The visitor will find technical theories and art mediums turned inside-out.
Don't hesitate to go to the WEBSITE, where you will find infinite
possibilities and the reason that Ghazala has been voted Honorary
President of the Aleatoric Movement by our AleatoricArt.com staffers.
Need more Reed? Check out his LINK PAGE for everything you always
wanted to know about taking chances.
(modification via chance short-circuiting of low-voltage audio circuits) has
become a contemporary standard in chance music and instrument design,
offering aleatoric composition possibilities beyond the pseudo-random
algorithms of "randomization" encountered in most synthesizers, signal
processors or sequencers.
Reed Ghazala is, as well, a self-taught, self-executed, self-exiled
multi-media artist. As the explorer of Reed's web pages will quickly
discover, all of Reed's work --visual, audio, musical instrument design and
writing-- reflects an unusual thinking-space. Reed not only bends the
rules; more so, he makes up (and publishes!) his own. Perhaps this might
take shape in musical instruments that conduct electricity through their
players. Or those that are controlled by hand shadows and produce
chance music. Fantastic landscapes of never-never worlds might rise out
of reconsidered film stock. Digital mediums might resolve at atomic level.
The visitor will find technical theories and art mediums turned inside-out.
Don't hesitate to go to the WEBSITE, where you will find infinite
possibilities and the reason that Ghazala has been voted Honorary
President of the Aleatoric Movement by our AleatoricArt.com staffers.
Need more Reed? Check out his LINK PAGE for everything you always
wanted to know about taking chances.
Stefan Beyst is a Belgium based retired lecturer in the philosophy of art and modern art history. Many of his often controversial texts on art and modern artists are to be read on his website. ARTIST'S STATEMENT I like pictures that are strong: revelatory and fascinating. That is why I am not feeling at home, neither in the recent development of painting, nor in that of photography, where such images seem to become increasingly more scarce. Both branches of the image production are trapped in a hopeless trench war, in which they take opposite positions that cannot but drive them into ever new dead ends: whereas painting threatens to degenerate into staged reality, design, cheap philosophy or empty revolutionary gesture, photography seems to become increasingly mesmerised by documenting or reduplicating the existent - however interesting -if it does not altogether lose itself in the solving of all the technical difficulties in rendering the real world. Precisely, the digital revolution opens hitherto unknown perspectives to overcome photography's much scorned dependency of the given and to freely transform the existent world in a self-created, self-contained reality of a higher order: the world of art. That is why I opted for the digital camera and digital manipulation, and above all for the immaterial digital screen, lighted from within, that only completes the digital production of the image - in the hope that a further development of the technology of the screen will free the digital image from its hitherto obligatory transformation into a printed reflecting surface. Stefan Beyst |
The Artists
| If you loved the Dadaists and their close friends, the Surrealists, the way AleatoricArt does, you will be pleased to know that Max Ernst and some of his pals have been found alive and well, inhabiting the mind and body of the uber-talented Eastern European painter Zoran Zugic Born in Belgrade/Serbia in 1950, Zugic earned his degree at Ecole Nationale Superieure Des Beaux- Arts in Paris France, where he graduated in 1979. His many solo and group exhibitions have taken him all over the world, with successful showings in the best galleries of Paris, Denmark, New York City, Boston, and in many parts of Eastern Europe from 1986 until present. Go to the artist's WEBSITE to see more, and check out the interesting "Parallel Gallery" featuring his wife, Vlatka, also a talented abstract painter. You won't find much information about Zoran at his website, but AleatoricArt will be conducting an interview in the near future... stay tuned! |
Photo / Ryan Shue
| Courtney Hoskins "Using polarized light and birefringent materials, Courtney Hoskins creates alien landscapes out of mundane household items. By placing objects such as candy wrappers and melted plastic cutlery in front of her modified lens, she offers a different take on the objects that we would normally discard in our world. Her work is photographic in nature- the colors seen in her work have not been digitally altered, despite their foreign appearance. "Courtney has also been making films since she was fourteen years old and dreaming about movies most of her life. Her passion for the cinematic medium and intense curiosity about the world around her have lead her down many different paths in life. She's studied French, meteorology and astronomy, traveled around the world, and has made a living as a makeup counter artist, a volcanic ash image analyzer, a web designer, a visual effects artist, and has recently delved into the world of 3D animation, teaching herself Maya along the way. "Her works have spanned an equally broad range: from still photography and experimental films to animation and live-action narrative shorts. The experience and skills she has gathered on her wandering path have combined to form a unique vision of the world that she hopes to instill in her artwork and share with whomever will listen." |
| Stoffel De Roover The talented man at right is, at this point in time, floating in a creative haze... One look at this artist's beautiful abstract prints will definitely put you under the influence of his unique imagination. In 2007, Stoffel was taken by surprise by a simple wisp of smoke he had just photographed... There in the fog was the outline of a woman, the first breathtaking image (and the catalyst) of the resulting onslaught of his superbly crafted series of aleatoric artwork. Addicted to his newfound palette of ever changing and never ending content, the artist lit up the incense and snapped away, as nature herself composed with a free hand. A true aleatoric artist never knows what his next piece will be, and with subject matter ranging from beautiful goddesses to scary creatures, this series is an incredible collection of chance art that must be seen! De Roover was born in Leuven, Belgium, where he began his studies. He moved around, first to the Netherlands, then to the United States and on to France where he lived for about 7 years, earning his MSc, before moving with his wife and two children to Montreal in 2006, where he now resides. Since he unveiled his Smoke Photography in 2007, De Roover's work has been featured in SNAP Magazine, UK, a NYC restaurant, on Southern Rock band Widespread Panic's T-shirts, and on LifeInTheFastLane.com, where we at AleatoricArt found him. Learn more about this smokin' hot artist at his website and blog by clicking HERE. |
| PUBLISHED 2009 BY IN FOCUS PHOTOGRAPHY, INC. HOUSTON, TEXAS |
Take a few minutes, and become inspired by a diverse group of artists who have a lot in common. Our little movement has much to offer-
we are old and young, classically trained and self taught, world travelers and small town folks. Together we share a love of our freedom
from the bonds of conventional thought and practices in fine art, and have come together to entertain art lovers and collectors, and to
educate and inspire a new breed of artists in the 21st Century. Share the stories and statistics of our free spirited masters of chance
below. Discover the inspiring techniques, use of modern technology and materials, and the artists own unique philosophies.
we are old and young, classically trained and self taught, world travelers and small town folks. Together we share a love of our freedom
from the bonds of conventional thought and practices in fine art, and have come together to entertain art lovers and collectors, and to
educate and inspire a new breed of artists in the 21st Century. Share the stories and statistics of our free spirited masters of chance
below. Discover the inspiring techniques, use of modern technology and materials, and the artists own unique philosophies.
" Now, that would be chancy..."
| AleatoricArt Curator Allan Rodewald "I revised my fine arts career five years ago after many years of working in related art fields. These previously careers mentioned have helped me to establish my current styles. I learned to work with an airbrush and with materials which account for some of the brilliant transparent colors found in some of my work. Creating to me is to take a developed style no matter what form or classification and becoming the best at that certain style. To create interesting, thought provoking pieces that are unique and individual to the artist is my passion. My personal challenge is to create anew. Feeling safe with a painting is comforting but can to me become mundane and un-fulfilling after a while. I sometimes while working on a painting wonder what if I applied a radical technique to a piece and how would that look. Or in the same mode what if I ruin the painting and all the work so far will be wasted? I then try to act with the thoughts of "well Allan you won't know if you don't try". Yes many times ruining the piece but many time inventing a new alternative but always opening a door to new light. People often comment on titles of paintings. My painting teacher in College felt titles can give the viewer of abstract piece a preconceived idea about the piece. I believe in this form of thought and don't put too much importance into the titling of my pieces for the most part. I will often take a primarily red piece for example and name it "Red 1"or Satin 5" . This helps to keep track of a painting. I do title pieces when the title seems obvious to me or when the paintings says my name is_____. Sometimes I wonder about the better marketing of art when a title is applied. People like titles I believe for the most part for various reasons. |
The ethereal paintings of Lorene Anderson will take you on a journey to another realm.
The initial beauty one sees quickly gives way to an overwhelming sense of space and time... You can
literally see for miles into Anderson's work, as if the canvas suddenly becomes an open window.
Lorene's employment of chance methods and her brilliant executions will dazzle you... The paintings
are gorgeous otherworldly landscapes and the automatic drawings bring to mind the Modern Master,
Andre' Masson.
Go to the artist's WEBSITE to learn about Anderson's extensive background and impressive
credentials, and to see her compelling body of work. Lorene is one of the few painters in the world of
contemporary artists using chance methods with such amazing results, and will surely be making a
big splash in the ocean of modern art.
Artist's Statement
I'm interested in random patterns, networks and self-automating systems and reinforce these
explorations by mimicking that concept in my paint application. I let paint travel across wet areas
creating a webbed effect, or let different mediums merge, feather into each other or totally repel
one another. Patterns emerge that resemble nerve, network or tree branch designs. Thinking about
cities as a type of self-automating system led me to my current series of abstract paintings that
explore the concept of organized networks versus chaotic patterns.
Chance, gravity and physics control the shape, direction, and distribution of paint. The density of
runs and drips builds volume and creates space much like cells or atoms. Interested in unexpected
compositions, I engage various paint media to create a stable instability. I experiment with
opposites: loud vs. quiet, fast vs. slow, chaos vs. order.
The initial beauty one sees quickly gives way to an overwhelming sense of space and time... You can
literally see for miles into Anderson's work, as if the canvas suddenly becomes an open window.
Lorene's employment of chance methods and her brilliant executions will dazzle you... The paintings
are gorgeous otherworldly landscapes and the automatic drawings bring to mind the Modern Master,
Andre' Masson.
Go to the artist's WEBSITE to learn about Anderson's extensive background and impressive
credentials, and to see her compelling body of work. Lorene is one of the few painters in the world of
contemporary artists using chance methods with such amazing results, and will surely be making a
big splash in the ocean of modern art.
Artist's Statement
I'm interested in random patterns, networks and self-automating systems and reinforce these
explorations by mimicking that concept in my paint application. I let paint travel across wet areas
creating a webbed effect, or let different mediums merge, feather into each other or totally repel
one another. Patterns emerge that resemble nerve, network or tree branch designs. Thinking about
cities as a type of self-automating system led me to my current series of abstract paintings that
explore the concept of organized networks versus chaotic patterns.
Chance, gravity and physics control the shape, direction, and distribution of paint. The density of
runs and drips builds volume and creates space much like cells or atoms. Interested in unexpected
compositions, I engage various paint media to create a stable instability. I experiment with
opposites: loud vs. quiet, fast vs. slow, chaos vs. order.
Andrew Schrock ...in his own words
" I spent the first sixteen years of my life in the small city of Harrisonburg, VA, spending
the majority of my time skateboarding with friends. Many people say that this part of my
life is reflected in my work, artistically and symbolically. I moved to Bethesda, MD in
order to finish up high school. This is where I feel that my realization that I would be an
artist occurred, even though I had been artistically inclined throughout my earlier life, I
began to really realize my passion.
I began producing short films with a crummy hand me down Hi-8 Camera. Once I learned
that this wouldn't suffice, I started working to save up and buy an Apple computer and a
3-Chip Camera; allowing me to better capture my vision and to add post production with
final cut. This interest led me to study photography at school, where I learned many
technical skills that I still find myself referring back to in my work.
I went on to become a student at The Catholic University of America where I have
experimented in painting, drawing, digital art, writing, and sculpture. My most preferred
medium at this point has been welded steel. I began my studies with steel during my
freshman year with Mary Frank and have since been producing sculpture from penny sized
to 20ft towers".
DON'T MISS THE HYDRO-FORM VIDEOS FROM THE SERENDIPITOUS SEMBLANCE COLLECTION HERE
" I spent the first sixteen years of my life in the small city of Harrisonburg, VA, spending
the majority of my time skateboarding with friends. Many people say that this part of my
life is reflected in my work, artistically and symbolically. I moved to Bethesda, MD in
order to finish up high school. This is where I feel that my realization that I would be an
artist occurred, even though I had been artistically inclined throughout my earlier life, I
began to really realize my passion.
I began producing short films with a crummy hand me down Hi-8 Camera. Once I learned
that this wouldn't suffice, I started working to save up and buy an Apple computer and a
3-Chip Camera; allowing me to better capture my vision and to add post production with
final cut. This interest led me to study photography at school, where I learned many
technical skills that I still find myself referring back to in my work.
I went on to become a student at The Catholic University of America where I have
experimented in painting, drawing, digital art, writing, and sculpture. My most preferred
medium at this point has been welded steel. I began my studies with steel during my
freshman year with Mary Frank and have since been producing sculpture from penny sized
to 20ft towers".
DON'T MISS THE HYDRO-FORM VIDEOS FROM THE SERENDIPITOUS SEMBLANCE COLLECTION HERE
| Mike Bloom is a self-represented Houston artist and received his B.S. Degree from Stephen F. Austin State University in 1959, where he was commissioned to illustrate the Botany manual for the Department of Biology. He did a year of Graduate studies at the University of Southern California, followed by two tours of service in the U.S. Army. Mike became a member of the Society of Graphic Communicators and had his first solo show in 1974. His works have been shown through the years at: Gallery of American Art - Shreveport, LA. Sanger-Harris - Dallas, TX Fine Art Galleries of Carnagie Institute - Pittsburgh, PA R. S. Barnwell Art Center - Shreveport, LA Galeria Katarina - Dallas, TX Jefferson Library - Jefferson, TX Mike has worked in numerous mediums and styles throughout his life, arriving at his current creative style focusing on traditional and nontraditional acrylic, enamel and mixed media paintings. Mike's use of vibrant colors, taking many shapes, make his paintings come to life with a dramatic burst of intensity. Mike’s works hang in the homes of private Collectors in the U. S. And Mexico. |
Don't miss Allan Rodewald's beautiful art studio in
AleatoricArt's home base of Houston, Texas HERE
AleatoricArt's home base of Houston, Texas HERE
Ciro Totku's interview with Cambodia Daily by Matthew Rusling
While the slums of Phnom Penh may elicit attention from NGOs, journalists
and the occasional lawmaker, they may seem an unlikely source of
inspiration for an abstract photographer. But Ciro Totku, those latest
collection is on display at the Raffles Hotel Le Royal until Nov 3, sees
Phnom Penh as a place imbued with an intensity of contrasts and shapes
found in few other places.
"The dirtiest places are the most inspiring," he says. "As a rule these are
small areas: 200 by 200 meters inside dirty districts of big cities," he says,
citing the area behind Phnom Penh's central market, as well as parts of his
home-town, Moscow, as prime examples. "You cannot find the same
images anywhere in the world," he says of Phnom Penh.
The name of the 21-piece exhibition is "Time Lapse", and the theme - while
not always evident - is the fleeting relationship of people with the things
around them. "All subjects of images will rapidly disappear with time and
will never be decrypted," the 39-year-old photographer said. "All
multicolor walls will be repainted soon." Using tightly framed shots to tell
larger stories, perhaps the most obvious commonality among Totku's
photos is their ability to arouse the viewer's curiosity about the truth
behind the image. "Hirayama Lake", for instance, looks like a
snow-covered mountain but is actually a photograph of a broken piece of
wood and some plastic that the photographer found in Sihanoukville.
With thousands of tiny black dots encroaching on a few white slabs, the
photograph entitled "Epidemos" compels the viewer to imagine a virus
overtaking the white blood cells. "The picture makes me think about a
global epidemic - past or future," Totku said. "Prostitution" is another
attention grabber, featuring an image as blunt as its title. A few blotches
resembling a 2-year-old's finger-painting symbolize what Totku says is the
wasted life of sex workers. "The picture is banal. It's straightforward,
primitive, but it attracts your attention," he added.
At times Totku has to wait for exactly the right weather and lighting
conditions to coalesce in order to capture the image he's looking for. "It
happens that I had to wait weeks to make a picture, In other cases, I have
only few seconds," he said, adding that he never uses PhotoShop or any
other montage or alternation programs. Totku's personal favorite in the
collection is "Two Stars." "Personally, for me it looks like a ruined city after
a nuclear attack. Do you imagine the night of August 6, 1945 in
Hiroshima?" he asked. "In fact, it is a photo of an old garage door."
While the slums of Phnom Penh may elicit attention from NGOs, journalists
and the occasional lawmaker, they may seem an unlikely source of
inspiration for an abstract photographer. But Ciro Totku, those latest
collection is on display at the Raffles Hotel Le Royal until Nov 3, sees
Phnom Penh as a place imbued with an intensity of contrasts and shapes
found in few other places.
"The dirtiest places are the most inspiring," he says. "As a rule these are
small areas: 200 by 200 meters inside dirty districts of big cities," he says,
citing the area behind Phnom Penh's central market, as well as parts of his
home-town, Moscow, as prime examples. "You cannot find the same
images anywhere in the world," he says of Phnom Penh.
The name of the 21-piece exhibition is "Time Lapse", and the theme - while
not always evident - is the fleeting relationship of people with the things
around them. "All subjects of images will rapidly disappear with time and
will never be decrypted," the 39-year-old photographer said. "All
multicolor walls will be repainted soon." Using tightly framed shots to tell
larger stories, perhaps the most obvious commonality among Totku's
photos is their ability to arouse the viewer's curiosity about the truth
behind the image. "Hirayama Lake", for instance, looks like a
snow-covered mountain but is actually a photograph of a broken piece of
wood and some plastic that the photographer found in Sihanoukville.
With thousands of tiny black dots encroaching on a few white slabs, the
photograph entitled "Epidemos" compels the viewer to imagine a virus
overtaking the white blood cells. "The picture makes me think about a
global epidemic - past or future," Totku said. "Prostitution" is another
attention grabber, featuring an image as blunt as its title. A few blotches
resembling a 2-year-old's finger-painting symbolize what Totku says is the
wasted life of sex workers. "The picture is banal. It's straightforward,
primitive, but it attracts your attention," he added.
At times Totku has to wait for exactly the right weather and lighting
conditions to coalesce in order to capture the image he's looking for. "It
happens that I had to wait weeks to make a picture, In other cases, I have
only few seconds," he said, adding that he never uses PhotoShop or any
other montage or alternation programs. Totku's personal favorite in the
collection is "Two Stars." "Personally, for me it looks like a ruined city after
a nuclear attack. Do you imagine the night of August 6, 1945 in
Hiroshima?" he asked. "In fact, it is a photo of an old garage door."
Vickie Marsango makes a statement
Since I was a child, I have been an artist. Beginning with a box of colorful crayons and a
drawing of flowers, my second grade teacher noticed my interest in art and asked me to paint a
picture on the class easel. Growing up, I remember sketching detailed drawings at my
Grandma's desk with an assortment of paper, and a drawer full of pens and ebony lead pencils.
In high school, I was awarded an art scholarship to summer camp at the Allerton Art Academy
in Monticello, Illinois. I studied art in colleges and universities in Illinois and California,
(Associates of Arts Degree, and credits toward a B.A. in Fine Arts), but I consider myself as a
self-taught artist. I believe that creativity is a "Gift from God". Much can be learned/taught
about art, but for most artists, I think creativity is driven by the inner spirit within.
As an artist, my mission is to serve as an annointed messenger of divine inspiration; to assist
in spiritual growth/healing, by the use of creative meaning and symbolism. The use of colors,
textures, and unpredictible techniques create images that are unique and original. Many of the
techniques used in the mixed media work and wall sculptures were developed by experimenting
with unexpected and unconventional materials, creating many forms of textures. Subjects are
sometimes portrayed as having peaceful yet threatening moods or environments. Colors range
from bold and bright with many shades and tones, to muted and/or monochromatic.
Brushstroke techniques are rarely ever the same. The developed use of glazes and special final
finishes are also prominent in many of the artpieces. I encourage my viewers to feel the
textures, materials, layers, and various brushstrokes of paint on the canvas of my artwork as it
adds to the visual experience. It is natural for viewers to associate a specific style or category
to any artist's work. However, my art does not reflect any particular conventional style. I find
freedom in just creating art without limitations, boundaries, guidelines, expectations, or
comparisons to past artists and styles. My work is constantly evolving and emerging into new
directions. Each painting is a new journey with a new meaning. It is all about going through life
with struggles and strengths, and acknowledging the presence and power of the divine spirit
within us.
"He teaches my hands to war, so that my arms can bend a bow of bronze." - Psalm 18:34
Since I was a child, I have been an artist. Beginning with a box of colorful crayons and a
drawing of flowers, my second grade teacher noticed my interest in art and asked me to paint a
picture on the class easel. Growing up, I remember sketching detailed drawings at my
Grandma's desk with an assortment of paper, and a drawer full of pens and ebony lead pencils.
In high school, I was awarded an art scholarship to summer camp at the Allerton Art Academy
in Monticello, Illinois. I studied art in colleges and universities in Illinois and California,
(Associates of Arts Degree, and credits toward a B.A. in Fine Arts), but I consider myself as a
self-taught artist. I believe that creativity is a "Gift from God". Much can be learned/taught
about art, but for most artists, I think creativity is driven by the inner spirit within.
As an artist, my mission is to serve as an annointed messenger of divine inspiration; to assist
in spiritual growth/healing, by the use of creative meaning and symbolism. The use of colors,
textures, and unpredictible techniques create images that are unique and original. Many of the
techniques used in the mixed media work and wall sculptures were developed by experimenting
with unexpected and unconventional materials, creating many forms of textures. Subjects are
sometimes portrayed as having peaceful yet threatening moods or environments. Colors range
from bold and bright with many shades and tones, to muted and/or monochromatic.
Brushstroke techniques are rarely ever the same. The developed use of glazes and special final
finishes are also prominent in many of the artpieces. I encourage my viewers to feel the
textures, materials, layers, and various brushstrokes of paint on the canvas of my artwork as it
adds to the visual experience. It is natural for viewers to associate a specific style or category
to any artist's work. However, my art does not reflect any particular conventional style. I find
freedom in just creating art without limitations, boundaries, guidelines, expectations, or
comparisons to past artists and styles. My work is constantly evolving and emerging into new
directions. Each painting is a new journey with a new meaning. It is all about going through life
with struggles and strengths, and acknowledging the presence and power of the divine spirit
within us.
"He teaches my hands to war, so that my arms can bend a bow of bronze." - Psalm 18:34
Self Portrait
| Ted Lincoln Through the influence of both eastern and western cultures, philosophies, and practices, Ted creates paintings that explore the transitory nature of landscape. Drawing from his background and experience in eastern culture he uses industrial materials such as steel, aluminum, acids, and automotive enamel to create landscapes that simultaneously feel strong and illusive. The austere nature of his materials are softened and rendered into contemplative spaces. Using sumi ink and rice paper each piece is begun employing a chance driven process based on a traditional style of Chinese landscape painting. The monk Wong Mo pioneered this method (the Pomo method) during the T'iang dynasty (618- 906 AD). To this foundation he adds various combinations of painting methods that include, but are not limited to, the use of acrylic paint, epoxy glazes and automotive paint to create a hybrid of Eastern and Western techniques. With the addition of other elements such as the bar codes, binary codes and geometric shapes, the modern is persuaded to co-exist with the ancient. The combination of the abstract organic spaces created by the ink, and the more formal modern elements, helps coerce a visual dialogue between nature and its filtration through technology. In doing so, Ted dissects ideas of censorship, diversion, and manipulation, which are themes that he continues to explore.This work manifested after an intensive study of landscape painting in China in 2000. A graduate of the San Francisco Art Institute, Ted is 35, lives in Gainesville, and when not in his studio he can be found riding or fixing his bikes and small engine vehicles. |
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Anne Brawer Schwartz earned her Bachelor of Science in
Graphic Design from the University of Oregon, and attended the
Gemological Institute of America, studying jewelry design and gemology.
This led Anne to a long and successful career as a custom jewelry
designer with creations showcased throughout the country by
prominent retailers.
When Anne became a mother, she decided to leave the world of jewelry
design, but her creative and artistic nature led her to pursue other
forms of expression. Eventually, she found painting. Anne's paintings
are done in oil on canvas and other forms of mixed media on paper and
canvas.
Artist's Statement
My newest collections, entitled Crystal Auras, Zoom and A Journey
Through Infinity, reflect my artistic exploration of the infinite cosmic
history. I am known for pushing my palette of vibrant, and often
translucent, colors to the limit, drawing out the vivid hues of nature.
My paintings draw upon the earth's energy in a dangerous and
imaginative drama... READ MORE
Graphic Design from the University of Oregon, and attended the
Gemological Institute of America, studying jewelry design and gemology.
This led Anne to a long and successful career as a custom jewelry
designer with creations showcased throughout the country by
prominent retailers.
When Anne became a mother, she decided to leave the world of jewelry
design, but her creative and artistic nature led her to pursue other
forms of expression. Eventually, she found painting. Anne's paintings
are done in oil on canvas and other forms of mixed media on paper and
canvas.
Artist's Statement
My newest collections, entitled Crystal Auras, Zoom and A Journey
Through Infinity, reflect my artistic exploration of the infinite cosmic
history. I am known for pushing my palette of vibrant, and often
translucent, colors to the limit, drawing out the vivid hues of nature.
My paintings draw upon the earth's energy in a dangerous and
imaginative drama... READ MORE
| AleatoricArt's resident art writer Ray Cabarga was brought up feeling let down by those who raised him. He tried reaching for the stars but his father would always say, “The sky’s the limit son.” When he asked his mother, “Mom, do you love me?” she said, “I can’t possibly love you any more son.” Devastated, he sought guidance from the man upstairs and Jesus, was that ever a disappointment. He then turned to Buddhism. Spending ten years living in total seclusion in the mountains of Tibet as a Llama, studying, meditating, soul searching, enduring great hardships to become a master and teach the ancient wisdom to hundreds of young disciples, however, was just not in the cards for him. Later in life he would receive a masters degree in sociology and economics, and a Ph.D. in physics, writing several books on those subjects, winning him the Nobel Prize, or so he thought. But none of that would happen either. Predictably, his life took an unexpected turn in another direction and after winning his bout with drugs and alcohol, he now embraces them as an important part of his daily routine and the primary inspiration for his work... ...read more HERE |
| The Fantastic Realism art of Robert Venosa has been exhibited worldwide and is represented in major collections, including those of noted museums, rock stars and European aristocracy. In addition to painting, sculpting and film design (pre-sketches and conceptual design for the movie Dune, and Fire in the Sky for Paramount Pictures, and the upcoming Race for Atlantis for IMAX), he has recently added computer art to his creative menu. His work has been the subject of three books, as well as being featured in numerous publications - most notably OMNI magazine - and on a number of CD covers, including those of Santana and Kitaro. Perhaps the best description of Venosa's art comes from those who are respected masters themselves. Timothy Leary said, "Robert Venosa creates mythical mindscapes that fascinate and illuminate. His tableaux are windows into timeless vistas of the inner realities." The great Carlos Santana reveled in Venosa's work, noting "Robert Venosa's art truly captures the imprint of a spiritual force, each painting so alive, seeming to breathe, pulsate and stare back at you, challenging the viewer to also reach their highest potential." And the great Salvatore Dali wrote "Bravo Venosa! Dali is pleased to see spiritual madness painted with such a fine technique." Read the rich history of a grand master of chance at his WEBSITE |
Veron Ennis is a Fort Myers based painter, curator and
art critic. At the crux of her artistic foundation is painting.
Stemming from this core and in the broadest sense, all things
art engage her interest. Immersing herself into the vast
contemporary art world provides an energetic drive, inspiration,
and a constant flow of challenges beyond the private,
contemplative life of painting in her studio.
As a painter, Veron’s works take on unique manifestations
weaved together by an underlying stream of consciousness.
Each painting presents a new mission, a new discovery, a new
vision for expression, all connected by the golden thread of her
distinct style.
She has exhibited her works at some of Southwest Florida’s top
galleries, including shows in Fort Myers , Sanibel, Naples and
Cape Coral. Her work has also been featured in New York ’s
Lyrical Luminosci-T, Amsterdam Whitney International Fine Art
Gallery – a show curated by Ruthie Tucker.
Veron applies an assortment of media in her paintings. She loves
to experiment with water-based paints, oils, polymer-based
grounds, cotton rag paper and raw canvas. Her toolboxes
consist of brushes, archival pens, charcoal, rags, trowels, knives,
saws, drills, rulers, squares, buckets full of jar lids, scrap
canisters, odd metal shapes, various widths of tape, razors, a
hand sander…and a hair dryer.
Veron’s pursuits, beyond her painting, enable her to examine a
diverse range of theories and constructs in the art world. Veron
served as the curator for the Ferrari Gallery in Cape Coral, where
she designed shows by noted artists including David Hatchett,
Uri Berger and Jeffrey Scott Lewis. Her writings in art theory and
criticism have appeared in Art Districts, Times of the Islands,
RSW Living, Bonita Living, and Gulf and Main.
art critic. At the crux of her artistic foundation is painting.
Stemming from this core and in the broadest sense, all things
art engage her interest. Immersing herself into the vast
contemporary art world provides an energetic drive, inspiration,
and a constant flow of challenges beyond the private,
contemplative life of painting in her studio.
As a painter, Veron’s works take on unique manifestations
weaved together by an underlying stream of consciousness.
Each painting presents a new mission, a new discovery, a new
vision for expression, all connected by the golden thread of her
distinct style.
She has exhibited her works at some of Southwest Florida’s top
galleries, including shows in Fort Myers , Sanibel, Naples and
Cape Coral. Her work has also been featured in New York ’s
Lyrical Luminosci-T, Amsterdam Whitney International Fine Art
Gallery – a show curated by Ruthie Tucker.
Veron applies an assortment of media in her paintings. She loves
to experiment with water-based paints, oils, polymer-based
grounds, cotton rag paper and raw canvas. Her toolboxes
consist of brushes, archival pens, charcoal, rags, trowels, knives,
saws, drills, rulers, squares, buckets full of jar lids, scrap
canisters, odd metal shapes, various widths of tape, razors, a
hand sander…and a hair dryer.
Veron’s pursuits, beyond her painting, enable her to examine a
diverse range of theories and constructs in the art world. Veron
served as the curator for the Ferrari Gallery in Cape Coral, where
she designed shows by noted artists including David Hatchett,
Uri Berger and Jeffrey Scott Lewis. Her writings in art theory and
criticism have appeared in Art Districts, Times of the Islands,
RSW Living, Bonita Living, and Gulf and Main.
| | | | | | | | | | |
Don't miss Allan Rodewald's beautiful art studio in
AleatoricArt's home base of Houston, Texas HERE
AleatoricArt's home base of Houston, Texas HERE
