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Dialogue with the Primordial Sea

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AMM
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Locust Projects-Alba-Triana
Locust Projects-Alba-Triana

Dialogue with the
Primordial Sea
Alba Triana

On Thursday, January 23, 2025, I attended the closing event for the exhibition “Dialogue with the Primordial Sea” at Locust Projects. This insightful evening featured a thought-provoking conversation with artists Alba Triana and Rodolfo Peraza, who explored the fascinating intersection of technology, nature, and art. The event was a perfect way to wrap up the exhibition, providing an engaging discussion about how artists use technology to reveal invisible forces like magnetic fields and digital networks.

Both Triana and Peraza shared their unique approaches to blending the digital and natural worlds through their artistic practices. They delved into how technology can be used as a tool to explore and expose forces that are typically beyond our perception, such as the flow of data in digital networks or the subtle presence of electromagnetic energy. It was inspiring to hear them speak about their creative processes and how they navigate the complexities of translating these invisible forces into visually engaging art.

The exhibition itself, located at 297 NE 67th St, Miami, was a stunning reflection of these ideas, offering visitors a space where the digital and natural seemed to coexist and communicate. The artwork not only engaged with the concept of unseen forces but also asked the audience to consider how technology can alter our understanding of the world around us.

The closing event was an incredible opportunity to reflect on the profound ways in which technology can enhance our perception of reality and deepen our connection to the natural world. Both Alba Triana and Rodolfo Peraza provided invaluable insights into how art can bridge the digital and the organic, leaving me with a renewed sense of awe for the unseen systems that shape our environment.

Locust Projects presents a newly commissioned immersive kinetic sound installation by Alba Triana, an internationally recognized Miami-based intermedia artist who investigates the intersection of art, science, and technology to reveal the inseparable relationship between our surroundings and the imperceptible forces that govern the natural world.

Dialogue with the Primordial Sea at Locust Projects is an expansion of the artist’s ongoing Delirious Fields Series, exploring the complex interplay between the tangible and intangible, the individual and the collective, chance and organization, and self-organizing processes in nature. By engaging with these phenomena on a large scale, the installation unveils and immerses the viewer in the unseen underlying dynamics that shape humanity.

The site-specific installation features a series of magnetic spheres that alternately levitate or pendulate as they interact with invisible magnetic fields. Each system consists of a magnetic sphere and two coils. When a coil emits a magnetic field, the sphere levitates near it, manifesting the field’s intangible presence. When the field dissipates, the sphere pendulates freely, propelled by gravity. As a whole, the installation behaves like a collective—an organism composed of interrelated parts that function together tracing ephemeral lines of movement across the walls of the space. Controlled by a probabilistic code, the spheres exhibit both individual and collective behaviors. Amidst the randomness, moments of synchronized stillness and synchronized activity emerge, evoking a living entity that constantly self-generates.

Commissioned by Locust Projects as part of the Knight Digital Commission series, this site-specific work offers Alba Triana an exceptional opportunity to scale her previous explorations into a large-scale, immersive installation. Transforming the Project Room into a space that embodies intangible yet powerful forces and relationships, Triana pushes the limits of her practice, deepening her exploration of the ethereal realms from which everything—including humans and their creations—emerges.

Dialogue with the Primordial Sea was a ‘Curator’s Pick,’ selected by Executive Director Lorie Mertes from artist applications to the 2024 Knight Digital Commissions open calls.

About the Artist

Alba Triana  is a Miami-based, Colombian-born sound and intermedia artist. Through immersive installations, sound and light sculptures, and vibrational objects, Triana’s work explores the relationship between the natural world and our human condition. Exploring vibration, energy, interconnectedness, and nature’s self-organization, Triana’s oeuvre examines how the vitality of everything—both alive and inert—shapes who we are and what emerges from within us.

Triana has been recognized with several prestigious awards, including The Ellies x Oolite Arts Creator Award, Miami (2019); the Prix Ars Electronica Award of Distinction, Austria (2022); the CIFO Grants and Commissions Award, Miami (2023); and the ArtFields Grand Prize (2024). In her native Colombia, she has also earned numerous accolades, such as the National Electroacoustic Music Contest (1995), the IDCT National Composition Contest (1997), the “Otto de Greiff” National Contest (1998), and the Alliance Française Best Exhibition Award (2009).

Triana has participated in various commissions and residencies with renowned institutions, including Kronos Quartet; Oolite Arts, Miami; Groupe de musique électroacoustique de Bourges (GMEB), France; the Civitella Ranieri Fellowship, Italy (2018); the South Arts Fellowship for Florida (2020); and the Ministry of Culture, Colombia. From 2018 to 2021, with support from Pro Helvetia—Swiss Arts Council, she conducted research on vibration and interconnectedness at a particle level, collaborating with thought-leading research institutions including European Organization for Nuclear Research (CERN), Swiss Federal Institute of Technology Lausanne (EPFL), and the University of Geneva in Switzerland.

Triana’s work has been exhibited internationally at Ars Electronica Festival, Lentos Kunstmuseum, Austria; Biennale des Arts Numériques, Centquatre-Paris, France, Museo de Arte Moderno de Bogotá, Colombia; and ISEA—International Symposium on Electronic Arts. Her work has been featured at the Subtropics Experimental Sound and Intermedia Festival, Miami, and Sónar+D Festival, Barcelona, and is included in collections across Europe, Latin America, and the United States, including Colección SOLO and Otazu Foundation Collection, Spain; Banco de la República de Colombia, and the Museum of Modern Art of Bogotá, Colombia.

ABOUT THE ARTIST
Alba Triana is a Miami-based, Colombian-born sound and intermedia artist. Through immersive installations, sound and light sculptures, and
vibrational objects, Triana’s work explores the relationship between the natural world and our human condition. Exploring vibration, energy, interconnectedness, and nature’s selforganization, Triana’s oeuvre examines how the vitality of everything—both alive and inert— shapes who we are and what emerges from within us.
Triana has been recognized with several prestigious awards, including the Prix Ars
Electronica Award of Distinction, Austria (2023); the CIFO Grants and Commissions Award, Miami (2023); and the ArtFields Grand Prize (2024). In her native Colombia, she has also earned numerous accolades, such as the National Electroacoustic Music Contest (1995), the IDCT National Composition Contest (1997), the “Otto de Greiff” National Contest (1998), and the Alliance
Française Best Exhibition Award (2009).
Triana has participated in various commissions and residencies with renowned institutions, including Kronos Quartet; Oolite Arts, Miami; Groupe de musique électroacoustique de Bourges (GMEB), France; the Civitella Ranieri Fellowship, Italy (2018); the South Arts Fellowship for Florida (2020); and the Ministry of Culture, Colombia. From 2018 to 2021, with support from Pro Helvetia— Swiss Arts Council, she conducted research on vibration and interconnectedness at a particle level, collaborating with thought-leading research institutions including European Organization for Nuclear Research (CERN), Swiss Federal Institute of Technology Lausanne (EPFL), and the
University of Geneva in Switzerland.
Triana’s work has been exhibited internationally at Ars Electronica Festival, Lentos Kunstmuseum, Austria; Biennale des Arts Numériques, Centquatre-Paris, France, Museo de Arte Moderno de Bogotá, Colombia; and ISEA—International Symposium on Electronic Arts. Her work has been featured at the Subtropics Experimental Sound and Intermedia Festival, Miami, and Sónar+D Festival, Barcelona, and is included in collections across Europe, Latin America, and the United States, including Colección SOLO and Otazu Foundation Collection, Spain; Banco de la República de Colombia, and the Museum of Modern Art of Bogotá, Colombia.

FRAGIL exhibition at the Artifice Doral Gallery

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AMM
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Art Miami Magazine
Art Miami Magazine

On Thursday, January 23, I had the pleasure of attending the FRAGIL exhibition at the Artifice Doral Gallery, an event where seven talented artists explored fragility as a powerful and transformative creative force. The exhibition was expertly curated by Delsy Rubio, and it provided an intimate yet thought-provoking look into the delicate balance between strength and vulnerability.

The gallery was filled with a diverse group of visitors, all deeply engaged in the artworks that filled the space. The atmosphere was vibrant, with attendees moving through the exhibits, reflecting on the themes of fragility presented in various forms and mediums. Each artist brought their unique perspective to the theme, creating a truly dynamic showcase.

The works by Teresa Cabello, Ana Gutiérrez, Lara Restelli, Ileana Rincón-Cañas, Betta Santini, Elisa Wuo, and Mai Yap were absolutely exceptional. From sculptural pieces that seemed to defy the very idea of fragility, to delicate mixed-media works that captured the subtle nuances of vulnerability, every piece invited contemplation. The exhibition encouraged visitors to reflect on how fragility can be both a source of beauty and a profound force of expression.

Art Miami Magazine
Art Miami Magazine

What stood out to me was the way each artist engaged with the theme of fragility not just as a physical state, but as an emotional and psychological experience. The works were poignant, with layers of meaning that resonated long after viewing. It was clear that FRAGIL was not just an exhibition but a powerful conversation about fragility in both art and life.

I highly recommend visiting Artifice Doral Gallery if you have the chance, as this exhibition was a beautiful reminder of how fragility can shape creativity in unexpected and profound ways.

Artifice At Doral

3625 NW 82nd Ave, Doral, FL 33166

Renaissance Art

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AMM
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Renaissance Art
Renaissance Art

Renaissance Art


Proto-Renaissance (c. 1300 – 1400)

The Proto-Renaissance, a pivotal period in art history, marks the transition from Medieval to Renaissance art. It is characterized by artists breaking away from the flat, stylized figures typical of Medieval art and experimenting with more naturalistic depictions. Key figures like Giotto di Bondone introduced greater emotional expression and depth in painting, while artists started exploring more realistic perspectives and spatial depth. Though still grounded in religious themes, the use of light, shadow, and human expression began to hint at the developments of the entire Renaissance.

Early Renaissance (c. 1400 – 1490)

The Early Renaissance, a period from around 1400 to 1490, is defined by the exploration of humanism and the revival of classical antiquity. Artists began to study the natural world, incorporating realistic human proportions, perspective, and light into their work. This period saw the development of linear perspective, notably by Filippo Brunelleschi, and artists like Donatello and Masaccio brought more depth and realism to sculpture and painting. The era also saw the rise of portraiture, a new form of art that captured the essence of individuals, and more complex compositions, focusing on religious and secular subjects.

High Renaissance (c. 1490 – 1527)

The High Renaissance is considered the pinnacle of Renaissance art, marked by harmony, balance, and the mastery of techniques like linear perspective, sfumato (the delicate blending of light and shadow), and anatomical accuracy. Iconic artists like Leonardo da Vinci, Michelangelo, and Raphael pushed artistic boundaries during this time, creating some of the most celebrated works in Western art, such as The Last Supper, The Sistine Chapel ceiling, and The School of Athens. This period epitomized the ideal of beauty, order, and humanism, focusing on the perfect human form and the divine.

Mannerism (Late Renaissance) (c. 1520 – 1600)

Mannerism emerged as a reaction to the harmonious idealism of the High Renaissance. It is characterized by exaggerated proportions, elongated forms, and complex, often unnatural poses. Artists like El Greco, Parmigianino, and Jacopo da Pontormo embraced an aesthetic that defied the classical norms of balance and order, focusing instead on emotion, tension, and artistic experimentation. Mannerism is often seen as more artificial and less grounded in nature, reflecting the social and political instability of the time. Its vivid colors and dramatic compositions set it apart from the High Renaissance’s more serene and idealized works.

Northern Renaissance (c. 1400 – 1600)

The Northern Renaissance, which refers to the flourishing of art in Northern Europe, especially in the Netherlands, Germany, and France, during the same period as the Italian Renaissance, offers a stark contrast to its southern counterpart. Artists like Jan van Eyck, Albrecht Dürer, and Hieronymus Bosch focused on incredible attention to detail, precise realism, and the use of oil paint to achieve rich textures and depth. While Italian artists were preoccupied with classical themes and the human form, Northern Renaissance artists often explored detailed landscapes, religious themes, and domestic life, focusing on minute realism and symbolism. This period also marked the rise of the portrait genre and the development of early printmaking.

Art studios in Coconut Grove, Coral Gables & South Miami

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AMM
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PAMM Art Studios in Miami
PAMM Art Studios in Miami

Art studios in Coconut Grove, Coral Gables & South Miami

Complexes

Deering Estate
16701 SW 72nd Ave. Miami, FL 33157

Andres Cabrera
Alexander Zastera
Barron Sherer
Gustavo Matamoros
Gretchen Scharnagl
Keshia Abraham
Lee Pivnik
Marlon Johnson
Meg Wallace
Michelle Grant Murray
Nicole Pedraza
Noreen Morelli
Susana Behar Levy
Vanessa Lustig

Individual Artist Studios

Aurora Molina
2925 Salzedo Street
Coral Gables, FL 33134



Amalia Caputo
2925 Salzedo Street
Coral Gables, FL 33134



Angela Bolanos
283 Catalonia Ave
Coral Gables FL 33134


Jake Henry
2980 McFarlane Rd
Miami, FL 33133




Kevin M Fletcher
45 Almeria Ave. #128 
Coral Gables, FL 33134

Lorena Velez
2828 SW 22nd Street
Miami FL 33135



Patricia Van Dalen
145 Madeira Ave
Coral Gables FL 33134



Neoplasticism and De Stijl 2025

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AMM
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Mondrian style painting, Mondrian art technique, Mondrian grid, Mondrian grid art, Abstract art, Neoplasticism definition, De Stijl, Abstract expressionism,

Neo-Plasticism vs. De Stijl: A Fine Line Between Art Movement and Artistic Philosophy

Neo-Plasticism and De Stijl are often used interchangeably, but understanding the distinction between the two can illuminate the nuanced evolution of modern abstraction in the early 20th century. While closely related, these concepts stem from different but complementary aspects of the same artistic revolution—one focusing on the philosophy of pure abstraction and the other encapsulating an entire movement dedicated to translating that philosophy into visual form.

At the core of this artistic transition stands Piet Mondrian, a pivotal figure whose early explorations of abstraction would ultimately lead to the birth of Neo-Plasticism. This philosophical approach, which he championed, emphasized simplicity, balance, and harmony. Born in the aftermath of the First World War, Neo-Plasticism rejected the chaotic, naturalistic representations of the past, aiming to create a visual language that conveyed universal truths through pure form. In his landmark piece Composition with Red, Blue, Yellow, Black, White, and Gray (1922), Mondrian epitomized this new approach: a grid-like arrangement of rectangular shapes filled with primary colors framed by strict horizontal and vertical lines.

The essence of Neo-Plasticism can be distilled into a few key principles: the rejection of naturalistic representation, the use of only primary colors (red, blue, yellow), black and white, and the adherence to rectilinear forms—simple, geometrically pure, and harmoniously arranged. The objective was clear: to establish a visual language free from the distractions of the natural world, where abstraction could evoke a deeper, more universal understanding of existence.

However, while Mondrian’s Neo-Plasticism became the philosophical backbone of the De Stijl movement, the two terms are not synonymous. De Stijl, meaning “The Style” in Dutch, was an artistic and architectural movement founded by Mondrian and Theo van Doesburg in 1917. Van Doesburg, a versatile artist and writer, played a crucial role in the movement, not only as a co-founder but also as a promoter and theorist. This movement sought to implement the ideas of Neo-Plasticism not just in art but across all design disciplines, from furniture and architecture to graphic design and typography. De Stijl, then, is the larger umbrella under which Mondrian’s ideas found their most significant expression.

The fundamental distinction is that Neo-Plasticism represents an artistic philosophy, whereas De Stijl is the movement that carried that philosophy into broader visual culture. Neo-Plasticism is about pursuing pure abstraction and simplifying form, while De Stijl was about applying those principles in everyday life, from building designs to home interiors. Mondrian’s role as the chief proponent of Neo-Plasticism gave the movement its theoretical backbone. At the same time, artists like Gerrit Rietveld, a leading De Stijl architect, translated those ideas into functional designs, such as his iconic Red and Blue Chair (1917), which eschewed traditional forms and embraced the rectilinear simplicity championed by Mondrian.

However, despite the differences, De Stijl and Neo-Plasticism are inextricably linked. Both shared the goal of creating a new visual order that could stand in contrast to the turmoil of war and the disorder of the modern world. While Neo-Plasticism focused on harmony through abstraction, De Stijl aimed to manifest harmony in physical, tangible forms. De Stijl’s artists were concerned not only with the abstract use of color and form but with how these could be applied to the built environment, resulting in minimalist architectural designs that prioritized function without sacrificing aesthetic purity. Their shared vision and commitment to creating a new visual order is an inspiration that continues to resonate in the art world.

The influence of De Stijl extended well beyond its immediate time and place, shaping the development of modern architecture, design, and graphic arts throughout the 20th century. The principles of grid structures, geometric abstraction, and primary color schemes would later be pivotal in movements such as Bauhaus, constructivism, and minimalism. It is in this lasting legacy that De Stijl’s relevance endures—its application of Neo-Plasticism in a broader context marked a key turning point in the relationship between art and everyday life, and its enduring influence is a testament to its significance in the evolution of modern art.

In summary, while Neo-Plasticism and De Stijl are deeply intertwined, they are not identical. Neo-Plasticism is the artistic philosophy developed by Mondrian, advocating for an abstraction that embodies universal harmony through geometric shapes and primary colors. This ‘universal harmony’ refers to the idea that the simplicity and balance of these elements can resonate with all viewers, transcending individual experience. De Stijl, on the other hand, is the movement that embraced and promoted these ideas in painting, architecture, and design, aiming to create a cohesive, harmonious environment in both art and life. Together, they form a critical juncture in the evolution of modern art—one that sought to create a universal visual language for the post-war world, transcending individual experience and reaching towards a more balanced, harmonious future.

Medieval Art

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AMM
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Medieval Art
Medieval Art

Medieval Art


Byzantine Art (c. 330 – 1453 AD)

Byzantine Art, which refers to the Art of the Eastern Roman Empire, particularly after Constantinople (modern-day Istanbul) was established as the capital, is characterized by its religious iconography. This includes richly adorned mosaics, illuminated manuscripts, and gold backgrounds. The focus of Byzantine Art was not on the realistic representation of figures, but on the spiritual and symbolic. Central to Byzantine Art are the religious icons used in Eastern Orthodox worship. Architecture from this period, such as the Hagia Sophia, features large domes and lavish interiors that emphasize the divine, connecting us to our religious roots.

Pre-Romanesque Art (c. 600 – 800 AD)

Pre-Romanesque Art marks the transition between early Christian Art and Romanesque art. It includes a variety of regional styles in the early Middle Ages, particularly in Western and Northern Europe. This period is known for its mixture of classical traditions with Germanic, Celtic, and Byzantine influences. Architecture from this time features early Christian basilicas, simple stone structures, and the first signs of Romanesque elements such as rounded arches and barrel vaults. Art and decoration were often simplified, focusing on religious symbolism rather than naturalism.

Romanesque Art (c. 800 – 1200 AD)

Romanesque Art emerged in Europe during the 11th and 12th centuries, characterized by solid, heavy forms and semi-circular arches. Architecture from this period includes large stone churches with thick walls, round arches, and small windows, creating a sense of solidity and protection. Sculpture, often featured in church portals, depicted biblical scenes in a stylized manner, and frescoes were used to adorn church interiors. The Art of the Romanesque period was deeply religious, emphasizing teaching Christian doctrine through Art. The period also saw the rise of illuminated manuscripts and decorative arts.

Gothic Art (c. 1100 – 1450 AD)

Gothic Art, which blossomed in France in the 12th century and spread its influence across Europe until the 16th century, is renowned for its soaring architecture. The cathedrals, with their pointed arches, ribbed vaults, and flying buttresses, created a sense of awe and inspiration, allowing for taller structures with larger windows. Stained glass windows, depicting biblical narratives, became a hallmark of Gothic churches. In sculpture and painting, figures became more naturalistic, emphasizing emotion and human expression. The period also saw the rise of illuminated manuscripts and early panel painting. Gothic Art aimed to inspire awe and elevate the viewer spiritually.

Medieval Art (c. 500 – 1400 AD)

Medieval Art, spanning a broad period from the fall of the Roman Empire to the beginning of the Renaissance, encompasses the Early Christian, Byzantine, Romanesque, and Gothic periods. Its strong religious themes characterize it, emphasizing the symbolic rather than the naturalistic representation of the world. Art during this time often served liturgical and instructional purposes, depicting saints, biblical scenes, and religious icons. Manuscripts were illuminated with intricate designs, and architecture focused on religious structures like churches and monasteries. The evolution of Medieval Art reflects Europe’s shifting religious, political, and social structures during the Middle Ages, providing us with a wealth of information and enlightenment.

Art Studios in Hialeah, Bird Road, Doral, Sweetwater & Miami Springs

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AMM
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PAMM Art Studios in Miami
PAMM Art Studios in Miami

Art Studios in Hialeah, Bird Road, Doral, Sweetwater & Miami Springs

Hialeah Art Studios

Individual Artist Studios

Ernesto Gutiérrez Moya 301 Hialeah Dr. Unit 113
 Hialeah, FL 33010



Susan Lee-Chun
295 W 23rd Street
Hialeah, FL 33010




Bird Road Art District

Complexes

CollaboARTive
4726 SW 75 Avenue
Miami, FL 33150
All studios are on the and wheelchair accessible.
and street parking available.
Public Transportation: The Metro Bus 40 Line stops on Bird Road and is a short walk from the studios.
Alejandro Perez
Elle Barbeito
Ignacio Font
Jean Blackwell Font
Sheherezade Thenard
Sean Cruz
Yossi Peled

Complexes

Studio 4724
4724 SW 75 Avenue
Miami, FL 33150
All studios are on the and wheelchair accessible.
and street parking available.
Public Transportation: The Metro Bus 40 Line stops on Bird Road and is a short walk from the studios.
Maruchi Carmona
Mila Hajjar
Sebastian Restrepo

Individual Artist Studios

Krystal Rodriguez
 4240 SW 74 Ave
 Miami, FL 33155



Nestor Arenas
 4720 SW 75 ave
 Miami FL 33155

 Not 

Tom Weinkle
 7432 SW 42nd Street


Tony Mendoza
 4225 SW 75th Avenue, 2nd floor
 Miami, FL 33155


Doral / Sweetwater/ Miami Springs

Complexes

Miami International Fine Arts
5900 NW 74th Ave 
Miami, FL 33166


Adriana Torres
Alex Pineco
Andrea Ciatti
Carmen Dolores del Moral de Larrazabal
Charlisa Montrope
Daniela Sanchez Vegas
Elkin Canas
Gloria Velez
Helen Lupo
Helio Salcedo
Ileana Rincón-Cañas
Marco Caridad
Maria Lino
Marilyn Valiente
Milixa Moron
Nidia Baquero
Sonia Hidalgo
Tere Jessurum Uribe
Pilar Tobon
Peter Polyak
Vero Murphy
William Alonso

The Studios @W10
11575-11615 SW 11th St, Miami, FL 33174

Diego Waisman
Jacob Edward Stiltner
John Colon
Lucia Morales
Melina Tsalikis

Individual Artist Studios

Elizabeth Stainberg
5900 Northwest 74th Avenue
Miami, FL 33166


Iuliia Alekseeva
851 SW 117th Ave
Suite W10-105
Miami, FL 33199


Ancient Greek Art

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AMM
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Ancient Greek Art
Ancient Greek Art

Ancient Greek Art


Geometric Period (c. 900 – c. 700 BC)

The Geometric Period marks the earliest phase of Greek art after the collapse of the Mycenaean civilization. Its geometric patterns, and stylized motifs characterize art from this time. Vase painting, especially with patterns like meanders, spirals, and triangles, is a prominent feature. Human figures were depicted in a highly abstract, schematic manner, often with little detail or proportion. The period reflects a time of cultural revival and the re-establishment of Greek artistic traditions.

Archaic Period (700–480 BC)

The Archaic Period, a time of significant innovation (700-480 BC), saw the development of more recognizable human forms in art. Sculpture became more naturalistic, and the “kouros” (youthful male statues) and “kore” (female statues) emerged as key forms of expression. Vase painting also advanced, with scenes from mythology and daily life becoming more detailed. The “black-figure” and later “red-figure” pottery painting techniques allowed for greater expressiveness. This period also saw the creation of the first monumental stone temples and the establishment of the Greek orders: Doric, Ionic, and Corinthian.

Classical Period (480 – 323 BC)

The Classical Period is often considered the peak of Ancient Greek art. This period saw the refinement of naturalism, with an emphasis on idealized human proportions and balance. Sculptors like Phidias created highly detailed and lifelike statues of gods, heroes, and athletes. The Parthenon, with its intricate sculptures and architectural mastery, represents the height of Greek temple art. In painting, figures became more dynamic with the development of perspective and emotional expression. The Classical Period also marked the rise of the philosophical ideal in art, where beauty, harmony, and proportion were considered expressions of moral and intellectual virtue.

Hellenistic Period (323 – 31 BC)

The Hellenistic Period (323-31 BC), following the conquests of Alexander the Great, was characterized by a dramatic expansion of Greek influence throughout the Mediterranean and Asia. Art from this period became more diverse and expressive, focusing on movement, emotion, and realism. Sculptors like Lysippos broke traditional ideals to portray more dynamic and individualized figures. Hellenistic art often explored a wider range of subjects, including old age, the grotesque, and exotic figures, infusing the art with a deep emotional connection. Architecture also became more experimental, and dramatic compositions became prominent in sculpture, reflecting the complex and cosmopolitan nature of the time. The period ended with the conquest of Egypt by Rome in 31 BC.

Art studios in North Miami, El Portal, Little Haiti, Little River & Liberty City

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AMM
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PAMM Art Studios in Miami
PAMM Art Studios in Miami

Art studios in North Miami, El Portal, Little Haiti, Little River & Liberty City

North Miami, El Portal

Complexes

Bridge Red Studios
12425 NE 13th Ave
Miami, FL

Kristen Thiele
Luisa Basnuevo
Lou Anne Colodny
Robert Thiele

Individual Artist Studios

Afrikin
1600 NE 126th Street



Carol Jazzar
158 NW 91 Street



Dan Bondroff
8365 NE 2nd Avenue

Peter Hosfeld
158 NW 91 Street




Rudolf Kohn
1343 Ne 119 st



Sheila Elias
1510 NE 130 Street



Stephanie Bloom
1510 NE 130th Street



Little Haiti / Little River

Laundromat Art Space
185 NE 59th St
Miami, FL

Claudio Marcotulli
Denise Treizman
Devora Perez
Donna Ruff
Jose Luis Garcia
Juan Henriquez
Julia Zurilla
Laura Villarreal
Lisu Vega
Nick Mahshie
Pablo Contrisciani
Roscoè B. Thické III
Roxana Barba

Dimensions Variable
101 NW 79th St
Miami, FL 33150

Carrie Sieh
Erin Thurlow
Frances Trombly
Leyden Rodriguez-Casanova
Misael Soto
WAAM

Diaspora Vibe Cultural Arts Incubator Inc.
164 NE 56th St. 
Miami, FL 33137

dvcai.org
Asser Saint-Val
Carol-Anne McFarlane
Rosa Naday Garmendia
Shawna Moulton
Thom Wheeler-Castillo

EXILE PROJECTS
5900 NW 2nd Avenue
Miami, FL 33127

Amanda Keeley
Tom Virgin/Extra Virgin Press
Katelyn Kopenhaver

IS Projects
290 NW 73rd Street
Miami FL 33150

Ingrid Schindall
Brooke Frank

YO Space Gallery & Studios
294 NE 62nd Street
Miami, FL 33138

Lila Lopez
Hannah Banicella
Nara Almeida
Paul Ellenberger
Yuval Ofir

Arthood 56
5600 NW 7th Ave
Miami, FL 33127

Dave Ross
Polen Cerci

Individual Artist Studios

Alette Simmons-Jiménez
345 NE 80th Street, No.236
Miami, FL 33138



Brigette Hoffman
6932 NE 3rd Ave
Miami, FL 33138



Carlos Betancourt
115 NW 73st 
Miami Fl 33150
 Not 

Carlos Rigau and Jessica Gispert
730 NE 79th Street 
Miami Fl 33138


Carolina Sardi
260 NE 60th St.
Miami, FL 33137



Chris Hausbeck
591 NW 71st street
Miami, FL 33150



David Rohn
230 NE 82nd street
Miami, FL 33150



David Marsh
5708 NE 4th Ave
Miami, FL 33137



Ernesto Kunde
6952 NE 3rd Ave
Miami, FL 33137



Gabriela Ayza Aschmann
6932 NE 3rd Ave
Miami, FL 33138



Gamayuna
6947 NE 3rd ave 
Miami, FL 33138


Gonzalo Fuenmayor
165 NE 64th St
Miami, FL 33138

Heloisa Maia
7010 NE 4th Ct
Miami, FL 33138


Hermes Berrio
6696 NE 3rd Ave
Miami, FL 33138
Igor Montoya Laske
180 NE 75th Street
Miami FL 33138


Javier Barrera
362 NE 80th 
Miami FL 33138


Jon Davis
7182 NW 6th ct Miami, FL 33150



Johanna Boccardo
6777 NE 2nd Ct Miami, FL 33138



Juan Raul Hoyos
6940 NE 4th Ave. #103 Miami, FL 33138



Kandi Stirman
201 NW 73rd St
Miami, FL 33150

Non- 

Leslie Gabaldon
7269 NE 4th Ave, #103

Not 

Lila Lopez
294 NE 62nd St
 Miami, FL 33138



Marielle Plaisir
165 NE 64th St
Miami, FL 33138


Nereida García Ferraz
50 NE 62 Street
Miami, 33137


Robert Posner
730 NE 79th St
Miami, FL 33138


Sadhana Bruco
7251 NE 2nd Ave Suite 106
Miami, FL 33138

Free
Paloma Teppa
8484 NE 2nd Ave
Miami, FL 33131


Pangea Kali Virga
7512 NW 1st Ave
Miami, FL 33150


Nathali Lorenzo
230 NW 71st St, 
Miami, FL 33150


Nick Gilmore
7264 NW Miami Ct, 
Miami, FL 33150


Nirvana Sherman
201 NW 73rd Street 
Miami, FL 33150


Yuval Ofir
294 NE 62nd St
 Miami, FL 33138







Liberty City

Complexes

Collective 62
827- 901 NW 62 Street
Miami, FL 33150
This complex is on one level and wheelchair accessible. There is a wheelchair accessible bathroom.
Ample free parking in the lot next to 931 NW 62nd Street.
Public Transportation: On the route of the 62 Metrobus
Alex Nuñez
Amy Gelb
Capucine Safir
Deryn Cowdy
Flor Godward
Giannina Dwin
Jeanne Jaffe
Marcela Marcuzzi
Marina Font
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Rana Begum

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Rana Begum.-©-Begum-Studio.-Photography-by-Philip-White-scaled
Rana Begum.-©-Begum-Studio.-Photography-by-Philip-White-scaled

Rana Begum is a distinguished artist based in London, celebrated for her exceptional talent in translating immersive spatial and visual experiences into meticulously organized forms. With a striking blend of sculpture, painting, and architectural elements, she employs a refined approach to Minimalist abstraction that captivates the viewer’s imagination.

Her work is deeply influenced by the dynamic nature of urban landscapes, as well as the intricate geometric patterns found in traditional Islamic art and architecture. This fusion gives rise to a unique visual language that is both captivating and complex, inviting viewers to engage with her creations on multiple levels.

Light plays an integral role in Begum’s artistic exploration; her artworks are designed to absorb and reflect varying intensities of light, resulting in a dynamic temporal experience that shifts as viewers interact with them. Begum’s journey in art began with a Bachelor of Arts in Fine Art from Chelsea College of Art and Design, which she completed in 1999, followed by a Master of Fine Arts in Painting from the esteemed Slade School of Fine Art in 2002. Today, she resides and creates in London, continuing to enrich the contemporary art scene with her innovative and thought-provoking works.

Rana Begum was born in 1977 in Bangladesh, moving to Hertfordshire, England, in 1983. Begum studied painting at the Chelsea College of Art and Design, University of London, graduating in 1999 and received an MA in Painting from the Slade School of Fine Art, London, in 2002.

Begum is influenced by the geometric abstraction of minimalism and constructivism and the work of artists such as Agnes Martin, Donald Judd, Tess Jaray, Josef and Anni Albers. She works with industrial materials, such as stainless steel, aluminium, copper, brass, glass and wood to make sculptures and reliefs that explore geometry, colour and light. Light reflects and absorbs on fluorescent coloured surfaces to create changing sensations as viewers move in and around her works and the space they occupy. She is inspired by urban architecture and her childhood memories of the geometric patterns of traditional Islamic art and architecture. 

Begum’s work has been internationally exhibited, with recent solo shows the Pitzhanger Manor & Gallery, London, travelling from Mead Gallery, Warwick Arts Centre, Coventry (2022); Tate St Ives, Cornwall (2018); Sainsbury Centre for Visual Arts, Norwich (2017) touring to Djanogly Gallery, Nottingham (2018); Parasol Unit, London (2016); Dhaka Art Summit, Bangladesh (2014); Delfina Foundation, London (2010). In 2017 Begum curated the Arts Council Collection in an exhibition at Yorkshire Sculpture Park and was awarded the Abraaj prize, Art Dubai. She has undertaken residencies in Italy, Philippines, Beirut, Bangkok and England. 

Recent group exhibitions include: Desert X, California (2023); Yorkshire Sculpture Park, Wakefield (2021); Whitechapel Gallery, London (2019); The National Museum of Women in the Arts, Washington (2018); Frieze Sculpture Park, London (2018); Royal Academy of Arts, London (2018 and 2012); Kettle’s Yard, Cambridge (2018 and 2016); Gemeente Museum, Den Haag, The Netherlands (2016); 11th Gwangju Biennale, Korea (2016); Museum Angewandte Kunst, Vienna (2015); Long Museum, Shanghai (2015).

Her work is held in numerous private and public collections including the Government Art Collection, London; Arts Council Collection, London; British Council, London; Sainsbury Visual Art Centre, Norwich; University of the Arts, London; Collection Pictet, Geneva; Simons Foundation; New York; Taubman Museum of Art, West Virginia; Coimbatore Centre for Contemporary Arts, India; Kiran Nadar Museum of Art, India; Rajshree Pathy Collection, India; Samdani Collection; Bangladesh; Farjam Collection, Dubai; Abraaj, Dubai and MONA, Tasmania.

Cristea Roberts Gallery published Begum’s first editions in 2018.

Rana Begum lives and works in London, England.

BIO

The work of London-based artist Rana Begum distils spatial and visual experience into ordered form. Through her refined language of Minimalist abstraction, Begum blurs the boundaries between sculpture, painting and architecture. Her visual language draws from the urban landscape as well as geometric patterns from traditional Islamic art and architecture. Light is fundamental to her process. Begum’s works absorb and reflect varied densities of light to produce an experience for the viewer that is both temporal and sensorial.

Born in Bangladesh in 1977, Rana Begum lives and works in London. In 1999, Begum graduated with a BA in Fine Art from Chelsea College of Art and Design, and in 2002 gained an MFA in Painting from Slade School of Fine Art.

EDUCATION

  • 2002  Slade School of Fine Art, London.

               MFA in Painting

  • 1999   Chelsea College of Art and Design, London.

               BA (Hons) Fine Art Degree (Painting)

  • 1996  University of Hertfordshire, Hatfield, Hertfordshire.

               BTEC Diploma in Foundation Studies in Art and Design.

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