Alfredo Maraver, Pionero del Cinetismo y abstraccionismo geométrico en Venezuela. Artista plastico identificado con ideas de avanzada en la pintura universal; nace en Maturín Edo. Monagas, el 15 de mayo de 1929. Estudió en la escuela de Artes Plasticas y Artes aplicadas de Caracas con los profesores Marcos Castillo, Rafael Ramon Gonzalez, Vicente Fabiani, Cesar prieto Francisco Narvaez. Frecuenta el Taller libre de Arte desde 1948 y fue profesor del mismo a partir de 1964. Realiza estudios de Arte en Paris-Francia desde 1950 hasta 1955 en la academia GRANDE CHAUMIERE, en el Taller de Pillet y Dewasne; al mismo tiempo estudia Escultura con Osip Zadkine y publicidad con Paul Colin; Pertenece a la promocion de los pintores: Omar Carreño, Jaime Sanchez, Angel Hurtado, Victor Valera, Jacobo Borges, Genaro Moreno y Daniel Rincón. Perteneció al grupo de los Disidentes. Fue Director Fundador de la Escuela de Artes Plásticas de Puerto Cabello 1962-1964 y Profesor de la escuela de Artes Plásticas Julio Arteaga de Maracaibo y de la Escuela de Artes Plásticas de Maracay. Director de Talleres de Artes aplicadas en la Casa de la Cultura Mariano Picón Salas desde 1967-1962. Director Fundador de los Talleres de dibujo, pintura y serigrafía del Taller Periférico de Arte “Jose Fernández Díaz” de Caracas desde 1972- 1990. Maraver “es un caso curioso dentro del medio pictorico ” segùn lo expresa en uno de sus catàlogos el pintor Omar Carreño-quien escribe “…hay artistas que hacen de su arte una carrera, y esa actitud por sì sola pone en funcion todos los hilos para alcancar su objetivo: el triunfo. Hay otros en que, por el contrario, los hilos se mueven para exaltar la vocacion en detrimento del triunfo o para anteponer el factor humano al aspecto artístico.

Frank Stella is an American artist best known for his use of geometric patterns and shapes in creating both paintings and sculptures. Arguably one of the most influential living American artists, Stella’s works utilize the formal properties of shape, color, and composition to explore non-literary narratives, as seen in his work Harrar II (1967) from the Protractor series. “Abstraction didn’t have to be limited to a kind of rectilinear geometry or even a simple curve geometry. It could have a geometry that had a narrative impact. In other words, you could tell a story with the shapes,” he explained. “It wouldn’t be a literal story, but the shapes and the interaction of the shapes and colors would give you a narrative sense. You could have a sense of an abstract piece flowing along and being part of an action or activity.” Born on May 12, 1936 in Malden, MA, Stella went on to study history at Princeton University before moving to New York in 1958. Having moved to the city, Stella was immersed in the heyday Abstract Expressionism, but it was the work of Jasper Johns that inspired Stella’s Black Paintings of 1958-1960. These flatly painted, austere works, helped open up the doors to Minimalism. Through the following decades, Stella gained traction in the art world and in 1970 he became the youngest artist ever to be granted a solo exhibition at The Museum of Modern Art. He continues to work in New York, NY and commutes to his studio in Rock Tavern, New York. Today, Stella’s works are held in the collections of the Metropolitan Museum of Art in New York, the Kunstmuseum Basel, the Art Institute of Chicago, the National Gallery of Art in Washington, D.C., and the Tate Gallery in London, among others.

Stella’s art was recognized for its innovations before he was twenty-five. In 1959, several of his paintings were included in Three Young Americans at the Allen Memorial Art Museum at Oberlin College, as well as in Sixteen Americans at the Museum of Modern Art in New York (1959–60). Stella joined dealer Leo Castelli’s stable of artists in 1959. In his early series, including the Black Paintings (1958–60), Aluminum Paintings (1960), and Copper Paintings (1960–61), Stella cast aside illusionistic space for the physicality of the flat surface and deviated from the traditional rectangular-shaped canvas. Stella married Barbara Rose, later a well-known art critic, in 1961.

Stella’s Irregular Polygon canvases (1965–67) and Protractor series (1967–71) further extended the concept of the shaped canvas. Stella began his extended engagement with printmaking in the mid-1960s, working first with master printer Kenneth Tyler at Gemini G.E.L. In 1967, Stella designed the set and costumes for Scramble, a dance piece by Merce Cunningham. The Museum of Modern Art in New York presented a retrospective of Stella’s work in 1970. During the following decade, Stella introduced relief into his art, which he came to call “maximalist” painting for its sculptural qualities. Ironically, the paintings that had brought him fame before 1960 had eliminated all such depth. After introducing wood and other materials in the Polish Village series (1970–73), created in high relief, he began to use aluminum as the primary support for his paintings. As the 1970s and 1980s progressed, these became more elaborate and exuberant. Indeed, his earlier Minimalism became baroque, marked by curving forms, DayGlo colors, and scrawled brushstrokes. Similarly, his prints of these decades combined various printmaking and drawing techniques. In 1973, he had a print studio installed in his New York house.

From the mid-1980s to the mid-1990s, Stella created a large body of work that responded in a general way to Herman Melville’s Moby Dick. During this time, the increasingly deep relief of Stella’s paintings gave way to full three-dimensionality, with sculptural forms derived from cones, pillars, French curves, waves, and decorative architectural elements. To create these works, the artist used collages or maquettes that were then enlarged and re-created with the aid of assistants, industrial metal cutters, and digital technologies.

In the 1990s, Stella began making freestanding sculpture for public spaces and developing architectural projects. In 1992–93, for example, he created the entire decorative scheme for Toronto’s Princess of Wales Theatre, which includes a 10,000-square-foot mural. His 1993 proposal for a kunsthalle (arts center) and garden in Dresden did not come to fruition. His aluminum bandshell, inspired by a folding hat from Brazil, was built in downtown Miami in 1999. In 2001, a monumental Stella sculpture was installed outside the National Gallery of Art in Washington, D.C.

Stella’s work was included in several important exhibitions that defined 1960s art, among them the Solomon R. Guggenheim Museum’s The Shaped Canvas (1964–65) and Systemic Painting (1966). His art has been the subject of several retrospectives in the United States, Europe, and Japan. Among the many honors he has received was an invitation from Harvard University to give the Charles Eliot Norton lectures in 1983–84. Calling for a rejuvenation of abstraction by achieving the depth of baroque painting, these six talks were published by Harvard University Press in 1986. The artist continues to live and work in New York.

Frank Stella, an iconic figure of postwar American art, is considered the most influential painter of a generation that moved beyond Abstract Expressionism toward Minimalism. In his early work, Stella attempted to drain any external meaning or symbolism from painting, reducing his images to geometric form and eliminating illusionistic effects. His goal was to make paintings in which pictorial force came from materiality, not from symbolic meaning. He famously quipped, “What you see is what you see,” a statement that became the unofficial credo of Minimalist practice. In the 1980s and ’90s, Stella turned away from Minimalism, adopting a more additive approach for a series of twisting, monumental, polychromatic metal wall reliefs and sculptures based on Herman Melville’s Moby Dick.

Frank Stella biography

Frank Stella, in full Frank Philip Stella, (born May 12, 1936, Malden, Massachusetts, U.S.), American painter who began as a leading figure in the Minimalist art movement and later became known for his irregularly shaped works and large-scale multimedia reliefs.

Stella studied painting at the Phillips Academy in Andover, Massachusetts, and history at Princeton University (B.A., 1958). He originally painted in an Abstract Expressionist style, but, upon moving to New York City in the late 1950s, he began work on a series of innovative paintings marked by an austere and monumental simplicity of design. The “black paintings,” which established his reputation, incorporated symmetrical series of thin white stripes that replicated the canvas shape when seen against their black backgrounds. Those works—e.g., The Marriage of Reason and Squalor, II (1959)—were included in the landmark exhibition “Sixteen Americans” at New York City’s Museum of Modern Art (MoMA) in 1959–60. He had his first solo exhibition in 1960 at the Leo Castelli Gallery, also in New York City. In the early 1960s Stella painted a series of progressively more complex variations on the theme of the frame-determined design and used both metallic-coloured paints and irregularly shaped canvases to that purpose. Stella expanded his use of colour in the Protractor series (1967–71), an influential group of paintings marked by intersecting geometric and curvilinear shapes and plays of vivid and harmonious colours, some of which were fluorescent.

Stella’s next decade opened with a survey of his work at MoMA (1970). In the late 1970s Stella broke with the hard-edged style of his previous work and began to produce sensuously coloured mixed-media reliefs that featured arabesques, French curves, and other organic shapes. His two-dimensional works became increasingly three-dimensional during the late 1970s and early 1980s and began to incorporate architectural forms made from materials such as aluminum and fibreglass. In the mid-1980s he embarked on a major project that took its title from and was based on Herman Melville’s Moby Dick. Between 1985 and 1997 Stella created some 260 pieces in the series, including prints, sculptures, and reliefs named after chapters in Melville’s novel. MoMA held another retrospective of his work in 1987.

In the 1990s Stella began to create freestanding sculptures—e.g., Raft of the Medusa (Part I), (1990). Some of them—such as Prinz Friedrich von Homburg, Ein Schauspiel, 3X (1998–2001), a 31-foot (9.4-metre) mixed-media sculpture installed in front of the National Gallery of Art in Washington, D.C.—were public art commissions. About this time he also began to experiment with star forms in a variety of sizes and finishes. Some were freestanding (Fat 12 Point Carbon Fiber Star [2016] and Jasper’s Split Star [2017]), but others were attached to another sculpture (Inflated Star and Wooden Star [2014]). In 2015 the Whitney Museum of American Art celebrated his long career with a major retrospective covering 60 years of his work.

Source: https://www.britannica.com/biography/Frank-Stella

Written by Joely Rogers

Experiencing a creative block can be frustrating—and frightening when our livelihood depends on our ability to create new work or make progress on a current one. The first thing to remember is that you’re not alone. Creative blocks happen to all of us! The second thing to remember is that they are temporary, even when they seem to arrive with a neon sign that says, “You Will Be Forever Blocked, So Give Up Now.” Don’t believe it. Instead, see a block as an opportunity to slow down and refill the wellsprings of your creativity.

While sharing my own ways of overcoming creative blocks, I’ll also sprinkle in ideas from others including professional artists and photographers featured in our Artie’s Eight Q&A series.

1. Shake up your scenery. If you live in the city, traipse through a park, zoo, or botanical garden. Go for a walk alongside a body of water or in a forest. Climb a mountain or a hill. If you’re a rural homesteader, take a trip to the city, visit a museum or show, or peruse local shops. Whether it be an antique shop, luxury car dealership or trendy boutique, design and inspiration is all around us. Fine artist and printmaker Mindy Lighthipe is with me on this: “I get out of the house and get into nature,” she says. “It can be planting in my garden, going out in my kayak, or traveling to a favorite destination.” Photographer-decorator Cheryl Williver concurs: “A change of scenery is what works for me. I get out of my office or ‘comfort zone’ and get out and explore!”

2. Tour your town with fresh eyes. No matter how large or small your city is, pretending to be a tourist will let you see it with a new perspective. Research what your town is known for. Make a day out of exploring its relevant sites. You might even wind up creating art with a local flavor, which can endear you to your fellow citizens. When University of North Texas photography student Hudson Ingram is feeling blocked, he looks around and starts shooting. “I just take photographs of whatever I see in my daily life,” Hudson says. “[That] gives me insight to what I might be subconsciously thinking, and I create a project based on those thoughts.”

3. Watch a movie or read a book that’s outside your normal genre. If rom-coms are your M.O., try a futuristic action movie instead. I like to read non-fiction. Yes, I learn a lot of practical stuff, but large doses can dull my senses. I mix it up with the classics, poetry, supernatural fiction, and dreamy travel essays

4. Take a class or workshop in a different art form. If you’re a photographer, try a drawing workshop. This will force you to slow down and engage with your subject in a completely different manner. Artist David Hoque agrees: “I’ve taught myself through YouTube and other sources how to improve my photography skills,” says David. “I have found that having good skills in this field is critical as a realist painter.”

5. Peruse a dictionary or thesaurus. This is an old writer’s trick that can work for artists, too. Pick a single letter, like K. What images come to your mind when you see the words “kite,” kaleidoscope,” or “karma”?

6. Out of sight, out of mind. Sometimes it feels like a project we’re working on is staring us down, ruthlessly reminding us of our block. When Rachel Kosbab, a North Carolina fine artist, isn’t sure how to finish a painting, she hides it “for a week or so and work on other projects,” Rachel says. “When I come back to it, I usually have new great ideas.” Texas photographer Jason Whitehead takes a similar approach: “I put the cameras away and try to find another outlet for creativity,” like listening to music or driving around. Michigan photographer Joshua McCann says taking a nap is one of the things that clears up his creative blocks. This technique is No. 1 on Creative Bloq’s list of block breakers.

7. Eat your way to inspiration. Colorful ingredients and beautifully plated dishes are a feast for the eyes. Plus, eating engages all our senses! I like to try new ethnic restaurants—you get to experience a little dose of culture along with the food. And if you appreciate that culture’s cuisine, check out their art as well. You may find a whole new source of artistic stimulation.

BONUS TIP: Do some reflective journaling. Verbal reflection can stir up mental visuals. The internet is full of writing prompts, but here are a few of my favorites: “____________ makes me feel wild and free.” “My best childhood memory is _____________________.” “I’ve always been fascinated by ________________.” Botanical artist Lotus McElfish told us that her blocks are most often due to her own insecurities. “[I’ve] got to get that out of the way and know my own value and artistic voice,” she says. Journaling positive affirmations can help with that. Affirmations are especially effective when we write in the second or third person: “You, Joely, are a talented artist” and “That Joely really knows how to capture beauty in a unique way.” Whatever you do, don’t feel guilty for feeling blocked. “When you beat yourself up you’re too busy beating yourself up to notice all the inspiration that surrounds you.” Sage words from Artists Magazine.

I’m always looking for new ways to overcome creative blocks. So if you have one to share, please do!

Source: https://www.framedestination.com/blog/resources/7-easy-ways-to-overcome-a-creative-block

Quizá el primer lugar del extranjero donde el argentino Hernán Nunzi triunfó sea Punta del Este, donde se ha lucido en Setai,  Kika, Opera Bay Mint, Rumi, y Kosiuko Bar, entre otros sofisticados sitios del balneario uruguayo. “Me encanta mi trabajo porque siento que mediante la música contribuyo a la diversión de la gente, a crear buenas atmósferas, buen ambiente”, analiza. Se puede decir que en los últimos años Nunzi ha logrado la conquista de buena parte de Latinoamérica. De hecho, ha sido figura del canal Fashion TV Latinoamérica. Perú es uno de sus bastiones y destaca en la gira que tiene preparada para este 2020. Allí se ha hecho un nombre en el ambiente y en abril estará en el bar Open, de Lima. México también está en su agenda para la primera parte de este 2020. Colombia, otro tanto. Como todos los años, en septiembre y octubre el DJ estará del otro lado del Atlántico, en España, donde se presentará en Madrid y en Barcelona. El trabajo global de Nunzi acaba de ser reconocido con el Premio AIPE (siglas de la Asociación Internacional de Periodista del Espectáculo). “Es maravilloso sentir que el esfuerzo y la creatividad que uno pone en su oficio sea reconocido por la prensa, y, en especial, por el público”, declara.

El argentino Hernán Nunzi comenzó a pasar música a la temprana edad de 15 años y desde entonces no ha parado de tener éxito, de ser convocado para trabajar en discotecas y eventos de alto nivel, tanto en Latinoamérica como en Europa. Tiene un bajo perfil personal, es una persona sencilla y afable en el trato, pero cuando se mira su curriculum se ve su pedigrí y cuando sube a su puesto junto a las bandejas y sus elementos de sonido se agiganta. Nunzi no solamente programa música de otros colegas y músicos sino que también produce material propio y ha llegado a ser destacado por, por ejemplo, www.beatport.com,  el sitio de internet más importante de la música electrónica internacional. Su carrera se inició en Argentina, donde ha hecho la “residencia” de discotecas como Ku y UFO POINT, en la exclusiva localidad de Las Leñas, paraje ideal para esquiadores. En Buenos Aires uno de los puntos altos de su trayectoria ha sido la labor para los clubes Divino y Asia de Cuba. 

Writing an Artist Biography vs. Statement: Why You Need Both

Written by Joely Rogers

“Why bother with an artist biography if I already have an artist statement?” you may ask. “After all, shouldn’t the focus be on my art?” Great questions. However, although an artist statement describes your art, an artist biography lets you to talk about yourself.

People are naturally curious about artists. They may wonder things like: where do you live, are you self-taught or academically trained, have you always been an artist or did you transition from a different career, do you have collectors? All these wonderings create the perfect opportunity to engage with your audience by sharing your story, your way.

What is An Artist Biography?

In general, an artist biography is like a typical biography. It should talk about your life — your history, education, work, etc. The difference is that an artist bio should focus on your artistic life rather than strictly your personal background.

What Voice Should it Be Written In?

Writing in first person — using “I” or “me” statements — conveys a more intimate, casual tone. Some artists prefer the third person, as it allows you to describe your experience and talents in a way that feels objective. With this approach, you would use your full name on first reference followed by your first or last name on subsequent references, along with “he,” “she” or “they” pronouns. Go with whichever voice feels most like you.

How Long Should the Biography Be?

One to three paragraphs are typical for an artist biography. Think tight, powerful sentences packed with information, and also loaded with keywords if you are writing for your website.

What Should An Artist Biography Include?

• Your current location and/or birthplace.
• The type of artist you are: photographer, painter, illustrator, sculptor, collage or fiber artist, performance, digital, etc.
• A basic description of your artwork and process. For example, “He takes macroscopic images of flower parts to share their intricate and colorful details.”
• Your education, training and apprenticeships. If you are self-taught, say it!
• A simplified description of your exhibition history.
• Where or how you sell your art, including all appropriate links if this information will be displayed online.
• If you have a blog to showcase or an Instagram account, provide the link for an online bio or make the URL clear in print.

What Should it Omit?

• Your address and phone number. If you want walk-in customers, put this under your contact information in a separate area.
• Outside quotes or opinions about your art. Put these under a special section for testimonials.
• Detailed information about your exhibition and educational history. Put these on your Artist CV/Resume.

Helpful Tips When Writing an Artist Biography

• Be brief. Be concise. Get to the point.
• Use simple language. How would you tell your story to child or a non-artistic person?
• Be honest and don’t be embarrassed about your past or afraid of using humor. Tell your story in a way that feels authentic to you.

Get it Done: A Journal Exercise

If you’re not sure where to begin with your artist biography, here are a few prompts to get you going:

• Where do you currently live? Where were you born? How have these places influenced your artwork?
• What kind of artist are you? Examples of general categories: photographer, painter, illustrator, calligrapher, sculptor, fiber artist, watercolorist, etc.
• How would you describe your art? What do you make?
• Are you self-taught or do you have academic training? Have you studied or apprenticed with someone?
• Do you teach classes or workshops?
• Do you write about your art, or art in general? If so, where?
• Where have you exhibited?
• Do you have collectors or are you in any collections?
• If you sell your art, where or how do you sell it?

My Artist Biography As an Example

This is my most current artist biography. It’s written in third person. Unlike my artist statement (shown in my post How to Write an Artist Statement), which I consider a fluid document, my own bio right now is fairly static. That will change, though, if I move, switch mediums or interests, obtain another degree or more training, take on a different type of artistic role (like teaching or writing for a publication), or if get more actively focused on selling my art again.

Joely C. Rogers is a North Carolina-based food illustrator and artist who is passionate about showing the interconnection between food and culture. Her artwork depicts both the beauty and uses of various foods and ingredients. She has graduate training in storytelling and writes about her artistic and culinary explorations on her blog, Cafe Joely.

Joely also has extensive knowledge of picture framing and image display. Along with her husband, Mark Rogers, she co-owns Frame Destination, an online picture frame company for DIY framers. She writes about the marketing, display, and selling of art on Frame Destination’s blog.

Happy writing!

I hope you’re inspired to pen a first draft of your artist biography. Your customers — and prospective admirers — will be delighted by this inside peek into who you are as an artist.

Written by Joely Rogers

I used to dread talking about my art. As a full-fledged introvert, I’m not a big talker to begin with, and having to explain out loud what seemed obvious was especially taxing. Apparently I’m not alone; many artists tend to be non-verbal communicators. But the hard reality is that your art doesn’t speak for itself — it needs context.

I have long since realized how useful an artist statement can be in clarifying the how and the why we became artists. Writing an artist statement gives you the opportunity to talk about your art: the technical processes of how you make it, plus why you feel compelled to create and show your work to the world. Think of it as a powerful stand-in for your professional voice in print media.

Sharing the how and why of your art

All art needs a basic description and most of it needs some type of clarification. This doesn’t mean telling the viewer how they should experience your art. It means taking the time to explain how and why you create your art, and what it means to you personally. Also, why do you want to share this stuff? It can be equally meaningful (and infinitely easier) to create for just yourself; I did this for about 37 years. What is motivating you to make it public?

With this in mind, I’ll share with you my process of crafting a basic artist statement. I’m calling it “basic” because the audience for this post is either someone who has never written an artist statement, or those who might be looking for ways to tweak their current one.

What is an artist statement?

In general, an artist statement is a formal introduction to your work. It should be a work-in-progress document about your art, stating your focus, outlining the materials and methods used to create your art, and reflecting on why you create it.

What voice should it be written in?

First person — think “I” or “me” statements.

How long should it be?

One to five paragraphs is a typical range. I tend to favor brevity and think one to three carefully worded paragraphs can convey all your information. Make every word count!

What should it include?

• Your materials/media
• Subject matter(s)
• Your process/methods
• Your purpose/why are you doing this?

What should it omit?

• Specific biographical information — general is okay if it helps with clarification. Your artist biography is the place for more details about your life.
• Outside quotes or opinions about your art.
• Your personal philosophies — it’s a statement, not a manifesto.

Helpful tips:

• Be brief. Get to the point.
• Use simple language. How would you describe your artwork to a child, a completely non-artistic person, your family, etc. Start with a simple framework, and then create a few versions for different audiences.
• Be honest. Share the reason behind your obsession with drawing/painting/photographing a sunset, flowers or a slice of crispy bacon.
• Remind yourself that your artist statement is not a static document. You should update it as your artwork evolves.

Write your artist statement: a journal exercise

Unsure where to start? Use the following prompts to kickstart your thinking. Write down your answers because writing forces clarity.

• How would you describe your art? What is your subject matter or focus?
• What material(s) do you use to make your art?
• Describe the method(s) used to create your art?
• What does your art mean to you? Why are you creating it?
• How do you get inspiration?
• Who is your intended audience, and what are the goals/hopes of sharing your art?

My artist statement as an example

This is my most current artist statement. It’s a work in progress, but I’ve done my best to convey as much information as possible in one succinct paragraph. Remember that your artist biography is the place to give lots of details about yourself as an artist.

Food is life, and life is art. I use colored pencils and digital media to create art and illustrations focused on food and ingredients. My colorful drawings show the beauty of food, while digitally added typography provides both practical information and commercial appeal to the viewer. I see my drawings and illustrations as stories or snapshots of daily life, rather than just strictly art, and it is my hope that they will encourage viewers to think more deeply about food. For inspiration, I read constantly and eat voraciously. I am also inspired by memories of my rural upbringing where we grew our own vegetables, ate local meat and seafood, and faithfully recreated traditional recipes.

Source: https://www.framedestination.com/blog/resources/how-to-write-an-artist-statement?fbclid=IwAR01Dth_Vn5EN4lfteA9lNh8rDur3aYfpbgyhi21zTaYjTCUqtAEWtx4vTg

Carolyn Heiss, Cheryl Kramer, & Helen M. Weinstein

Exhibition run: March 13, 2020 through April 6, 2020
Opening Reception: Friday, March 13, 2020 at 6:00 pm to 9:00 pm

Location: Hernan Gamboa Gallery, 4000 West Flagler Street, Coral Gables, Florida 33134

Hernan Gamboa Gallery is pleased to announce the opening of Inspired Strokes Times Three, a three-person exhibition of paintings by Carolyn Heiss, Cheryl Kramer, and Helen M. Weinstein. The opening reception will take place on Friday, March 13, 2020. The exhibition will run through Monday, April 6, 2020.  The exhibition is curated by Pedro A. Figueredo. This exhibition offers the work of three women artists who share studio space on the iconic Ocean Drive in Miami Beach, Florida. The artists Carolyn Heiss, Cheryl Kramer, and Helen M. Weinstein are as diverse in styles as in their expression of various quotidian themes. The exhibition consists of oil paintings exploring the themes of people, things, and nature. Carolyn Heiss depicts with sensibility the intimacy of portraiture and the subtle everyday interactions of people within her circle of family and friends as well as from found images. The dignity of her protagonists are splendidly enhanced by working within a traditional limited palette of hues. Cheryl Kramer explores the elemental qualities of things and views in extraordinary colors and forms. The reflective sculptural qualities of cars, the frontal complex view of an urban street, and the curvilinear coastline of a beach resort as viewed from high above are some of the subjects masterly represented with finesse.
Helen M. Weinstein creates flora compositions within abstract settings from her imagination. Her love of nature and color are self-evident in her sublime paintings. She enchants us with fantastic flowers and plants in abstracted multilayered worlds of gorgeous diaphanous colors.
The space aptly named “Studio 3” has brought these three successful artists together in South Beach, Miami Beach. Completing each other, they have individually been creating an impressive body of work. With this exhibition, the time has come to share their magnificent paintings with the world outside of their “Studio 3.” Hernan Gamboa Gallery is located in the Coral Gables, Florida. Its goal is to represent and promote the art works of local established or emerging artists from South Florida and throughout the world.