Adventum Floridana: Witnessing the Layers of a Vanishing Horizona solo exhibition by Andrés Cabrera-Garcia
The Frank Art Gallery
601 City Center Way Pembroke Pines, FL 33025 P: 954 392 2120 Tue – Sat: 11 am – 5 pm
Curated by Sophie Bonet
Exhibition Dates: March 13–June 7, 2025
Opening Reception: March 13, 6–9 PM
The Frank C. Ortis Art Gallery is proud to announce Adventum Floridana: Witnessing the Layers of a Vanishing Horizon, a solo exhibition by Andrés Cabrera-Garcia curated by Sophie Bonet. This evocative exhibition examines the fragile beauty of South Florida’s landscapes in a state of flux, offering viewers an opportunity to engage with the region’s shifting horizons through Cabrera-Garcia’s compelling works.
Cabrera-Garcia’s practice captures the tensions between nature and human intervention, translating ephemeral moments of light, texture, and urban transformation into dynamic visual narratives. His expressive brushstrokes evoke the sensory experience of South Florida—dense humidity, fading light, and the ever-present hum of development—immersing viewers in the visceral realities of a landscape in transition.
Central to the exhibition is a monumental polyptych, a “Platonic Ridge,” embodying the fragmentation and cohesion of South Florida’s evolving terrain. Complemented by an array of found objects and construction debris, the gallery becomes an archaeological site, immersing visitors in the dual forces of destruction and renewal.
Curator Sophie Bonet approaches Adventum Floridana through the lens of Maurice Merleau-Ponty’s phenomenology, emphasizing the active, embodied nature of perception. “This exhibition is not just about observing Cabrera-Garcia’s work,” Bonet explains. “It is about experiencing these landscapes as extensions of ourselves—an entanglement of memory, materiality, and transformation.”
The result is an exhibition that challenges viewers to witness and reflect upon the tenuous beauty of South Florida’s environment and its precarious future. Cabrera-Garcia’s works are not merely representations but invitations to participate in the ongoing dialogue between nature and humanity.
The Frank is a two story art gallery named after Pembroke Pines Mayor Frank C. Ortis for his decades-long commitment to the cultural arts. Lovingly known as ‘The Frank,’ this contemporary art gallery showcases multidisciplinary inclusive exhibitions that foster connections, facilitate collaborations and initiate cultural change. The gallery’s exhibition and learning space serves as a site of convergence for artists, performers, thought leaders and community members.
Dahlia Dreszer, Bringing The Outside In exhibition
Aldeide Delgado in conversation with Dahlia Dreszer at Green Space Miami
Join us for a lively discussion between Aldeide Delgado and Dahlia Dreszer at Green Space Miam – it’s going to be a fascinating artist talk!
Dahlia Dreszer, in dialogue with curator Aldeide Delgado, delves into the profound ways our homes serve as vessels of cultural memory and identity. This exhibition reimagines Green Space Miami as an immersive environment where tropical botanicals, site-specific installations, and striking large-scale photographs intertwine. Through intricate compositions of flowers, ancestral textiles, and cultural artifacts, the installation blurs the boundaries between interior and exterior spaces, evoking a sensory journey through heritage and place.
Bringing the Outside In explores how our homes become vessels for cultural memory and identity. The exhibition transforms Green Space Miami into an immersive environment where large-scale still life photography merges with site-specific installations, creating a dialogue between interior and exterior worlds. Through a layered visual language of rescued flowers, ancestral textiles, and cultural artifacts, the work examines themes of preservation, migration, and the fluid nature of home, suggesting that “home” is not a fixed place but a constant dialogue between memory, identity, and the spaces we inhabit.
“Bringing the Outside In” merges cultural objects, textiles, printed works, and flowers into meticulously composed still lifes. Each photograph creates a layered narrative exploring cultural identity through carefully arranged domestic spaces.
Live plant installation by Tournage (@tournagemia).
Artist talk – Aldeide Delgado in conversation with Dahlia at Green Space
Join us for an exciting artist talk featuring Aldeide Delgado and Dahlia at Green Space Miami. Get ready to dive into the minds of these talented individuals as they discuss their inspirations, creative processes, and more. This in-person event is a unique opportunity to gain insight into the world of art and connect with fellow art enthusiasts. Don’t miss out on this engaging conversation!
Aldeide Delgado is a Cuban-born, Miami-based independent Latinx art historian and curator, and the founder and director of the Women Photographers International Archive (WOPHA). Delgado brings extensive experience in writing, curating, and presenting on photography at prominent art history forums. She has delivered lectures at esteemed institutions, including the Tate Modern, Palais de Tokyo, The Clark Institute, University of Pennsylvania, Pérez Art Museum Miami (PAMM), DePaul Art Museum, King’s College London, California Institute of the Arts (CalArts), and The New School. Her accolades include the 2023 Ellies Creator Award, 2019 Knight Arts Challenge Award, the 2018 School of Art Criticism Fellowship by SAPS – La Tallera, and the 2017 Research and Production of Critic Essay Fellowship by TEOR/éTica.
Delgado is the visionary behind the WOPHA Congress, the world’s first-ever feminist photography collective conference. Held every three years at PAMM and across South Florida, this groundbreaking event has gathered nearly 100 leading art historians, curators, and women photographers, attracting over 2,000 national and international attendees across its past two editions. Delgado’s work centers on feminist and decolonial perspectives, addressing key topics in the history of photography within Latin American, Caribbean, and Latinx contexts. She is the author of the book “Becoming Sisters: Women Photography Collectives & Organizations” (2021). Before founding WOPHA, she created the Catalog of Cuban Women Photographers, the first comprehensive survey of Cuban photography history highlighting women’s contributions from the nineteenth century to the present. She is an active member of PAMM’s International Women’s Committee, US Latinx Art Forum, the Lucie Foundation Advisory Board, and the steering committees of the Feminist Art Coalition and Fast Forward: Women in Photography.
Dahlia Dreszer Artist Statement:
Within the boundaries of conventional photography, Dahlia found a way to begin a path out of it by exploring another dimension of picture-making where She creates unreal spaces that fly with our imagination and dreams.
Through her art, Dahlia intends to free the mind towards a way of understanding that goes beyond the conventional. Expressed through photography and digital manipulation, Dahlia creates compositions that break free from reference in a significant way. She is interested in questions regarding artifice in color and naturalness in color, and how it does or does not belong in the environment. Her pieces are created through a hybrid process where she combines photography, digital technique, and a painters thought process.
Biography:
Born in Colombia and raised in Panama, Dahlia Dreszer is a photo artist with a passion for capturing the essence of life through her lens. A graduate from Emory University, Dahlia holds a comprehensive background in Media and Photography, complemented by a concentration in Film and Media Management from the Goizueta School of Business.
With over a decade of dedicated experience in the realm of photography and artistry, Dahlia’s commitment to her craft is evident in her extensive portfolio. Her artistic journey has been marked by numerous exhibitions, showcasing her work on recognized platforms such as Miami Art Basel week in 2021, 2022, and 2023, as well as notable displays at the Frost Museum in Miami and Perez Art Museum Miami.
Beyond these acclaimed events, Dahlia has left her artistic imprint in various gallery exhibitions across the globe, including vibrant art scenes in Miami, Tulum, the UK, Seattle, and her native Panama. Her work is a testament to a relentless pursuit of aesthetic exploration, pushing the boundaries of conventional picture-making.
As a photo artist, Dahlia’s focus is to push the boundaries of conventional photography and create contemporary pieces that challenge the viewers perception of the medium. Dahlia seeks to inspire dialogue and introspection through her work, and blur the lines between reality and artifice. Dahlia’s work explores themes of identity, memory, and the human experience, as she aims to question the limits of what can be achieved with a camera. Her process often involves manipulating the photograph in post-production, adding layers of meaning and depth to the composition. Dahlia’s work is constantly evolving as she strives to spark imagination and inspire new ways of thinking about the world around us.
Jean Albert Gorin ( 1899 – 1981 ) was a French painter. Unique contributions or vertical sculptures to Neoplasticism.
Jean Gorin was a pioneering French neoplastic painter and constructive sculptor whose work extended the principles of Piet Mondrian and Theo van Doesburg into new dimensions. As a dedicated disciple of Mondrian, Gorin remained committed to the ideals of Neoplasticism, yet he introduced subtle evolutions to the movement, particularly through his integration of circles, diagonals, and three-dimensional reliefs.
Gorin’s encounter with Neoplasticism in 1926 marked a turning point in his artistic development. Seeing Mondrian’s geometric compositions alongside van Doesburg’s elementarist works and reading Georges Vantongerloo’s theoretical writings propelled him toward pure abstraction. This led to a correspondence with Mondrian and Vantongerloo, which quickly blossomed into deeper artistic exchanges and personal meetings. Mondrian, impressed by Gorin’s dedication, became both a mentor and advocate, encouraging him to push the boundaries of the movement.
Gorin’s early works, such as Composition No. 10 (1926), reflected a strict adherence to Neoplastic principles—grid-based arrangements, primary colors, and precise geometric forms. However, his willingness to experiment set him apart. Unlike Mondrian, who rigidly maintained vertical and horizontal compositions, Gorin explored the potential of diagonals and circular elements, subtly disrupting the strict orthogonality of traditional Neoplasticism.
By 1930, Gorin was exhibiting alongside Mondrian and other abstract artists in the Cercle et Carré group, founded by Michel Seuphor. This period saw him transition from painting to reliefs, a shift that Mondrian himself encouraged, believing it to be a natural evolution of abstract painting toward architectural space. Gorin’s neoplastic reliefs extended the flat planes of painting into physical depth, creating dynamic spatial interactions that anticipated later developments in Constructivist and Minimalist sculpture.
Throughout the 1930s and 1940s, Gorin remained at the forefront of abstract movements, co-founding the Abstraction-Création group and continuing to develop his vision of neoplastic architecture and sculpture. His reliefs, with their precisely balanced geometric configurations, were praised for advancing Mondrian’s ideas while injecting a new level of spatial complexity.
Despite the decline of Neoplasticism after Mondrian’s death in 1944, Gorin persisted in his explorations, adapting his work while maintaining its core principles. His legacy lies in his ability to bridge the gap between two-dimensional abstraction and three-dimensional form, expanding the reach of Neoplasticism beyond painting and into the realms of architectural and sculptural innovation.
Today, Gorin is recognized as a crucial figure in the evolution of geometric abstraction, standing alongside Mondrian and van Doesburg as one of the leading proponents of pure visual harmony through form and color. His reliefs and spatial compositions continue to inspire contemporary artists and architects exploring the relationship between art and structure.
Jean Albert Gorin, a vital figure within the Neo-Plasticist movement, extended Piet Mondrian’s rigorously geometric principles into three-dimensional space with his innovative vertical sculptures and maintained a consistent dedication to hard-edge abstraction in his paintings.
Gorin’s paintings, characterized by their precise, orthogonal lines and carefully calibrated primary and non-colors, demonstrated a commitment to pure, non-representational forms. 2 However, his most significant contribution lies in his sculptural work. These vertical constructions, meticulously crafted from geometric planes, transcended the limitations of the canvas, becoming tangible manifestations of his pursuit of spatial harmony and the integration of art into the architectural environment. By pushing the boundaries of Neo-Plasticism beyond the flat plane, Gorin effectively transformed the movement’s theoretical tenets into a dynamic, experiential reality, solidifying his place as a pioneer of abstract sculpture
Jean Albert Gorin
abstraction-création: art non-figuratif published in Paris annually from 1932-1936
El arte de los tiempos nuevos.
A pesar del trágico de la vida actual, se reconocen ciertos signos de que la evolución decisiva de la humanidad está por comenzar.
¡Todo se transforma, todo evoluciona!
La humanidad en su etapa adulta:
El doctor Jaworsky, comparando la vida de la humanidad con la del hombre, dice que esta entra actualmente en su decimoctavo año.
Nos alejamos, por tanto, del periodo turbulento de la adolescencia; los tiempos nuevos nos conducen hacia la edad adulta.
Desde hace medio siglo, no se puede negar, la evolución ha sido prodigiosa.
La invención de la máquina, los progresos técnicos y los descubrimientos constantes de las ciencias otorgan a los hombres, hoy en día, poderes gigantescos.
Se pueden prever para el futuro tiempos únicos.
Nuestra época ya no puede compararse con ninguna otra de la historia.
Con el siglo XX se abre una nueva era de la civilización.
Crisis y cambio de ciclo:
Las crisis económicas y sociales que atraviesa el mundo actual son el signo del fin de un ciclo, del fin de un mundo donde triunfó la anarquía individualista en todos los ámbitos.
Los tiempos nuevos maquinistas, que constituyen el nuevo ciclo, se anuncian finalmente racionales y colectivistas.
Las jóvenes élites, sanas, llenas de vitalidad y optimismo, se constituyen en grupos compactos y avanzan valientemente hacia la claridad radiante del futuro.
El hombre nuevo y el maquinismo:
El hombre se libera finalmente de todo sentimentalismo y particularismo.
Desde el automóvil y el avión, todo le aparece bajo una nueva luz.
El maquinismo va a revolucionar completamente nuestra vida: su desarrollo intenso y su utilización racional van a crear en nosotros una nueva mentalidad.
La estandarización y la industrialización, extendiéndose a todos los ámbitos de la vida, hacen que esta se vuelva cada vez más abstracta.
De esto resulta una nueva óptica, precisa, clara y matemática.
El arte en los tiempos nuevos:
El hombre nuevo tiene una necesidad intensa de contemplación plástica.
La vida nueva le exige momentos de calma y reposo, donde la contemplación del arte juega un gran papel si quiere conservar su equilibrio vital.
Solo corresponderá a esta necesidad una plástica clara, pura, sintética, despojada de las más mínimas escorias pasadistas.
Los diferentes “ismos” que se han sucedido en los últimos cincuenta años han permitido desarrollar un arte absolutamente adecuado a las exigencias de los tiempos nuevos.
La plástica está ahora completamente liberada de la influencia morfológica en la que se había estancado durante siglos.
El arte abstracto y no figurativo:
Un arte puro, colectivo, universal y científico ha nacido: el arte puramente abstracto, absolutamente no figurativo.
El movimiento colectivo de la nueva plástica (neoplasticismo) emplea medios de expresión absolutamente universales, matemáticos y científicos.
Es el arte impersonal por excelencia.
La línea recta y el plano rectangular de color puro o no color son los únicos elementos para todos.
La posición ortogonal es la constante.
A través de la creación y la perfección cualitativa de las relaciones plásticas puras, la obra puede alcanzar la unidad cósmica.
El arte completo:
Es el arte completo, que permite la expresión de todo nuestro ser: material-espiritual, individual-universal, en equilibrio constante.
Es el arte racional y colectivo de los tiempos nuevos maquinistas.
Expand and Enrich Your Private Art Collection at The Ralph Hogges Abstract & African Diaspora Art Gallery
Art collectors and enthusiasts seeking unique, investment-worthy works now have an exclusive opportunity to expand their collections at The Ralph Hogges Abstract & African Diaspora Art Gallery. This newly established private gallery, created by esteemed artist and scholar Ralph Hogges, offers an intimate and personalized art-buying experience where visitors can carefully inspect and acquire original pieces that contribute to both artistic appreciation and wealth building.
A Legacy of Artistic Excellence
Ralph Hogges, a distinguished Abstract and African Diaspora artist, has dedicated his life to education, literature, and the visual arts. Born in Allentown, Georgia, and raised in Miami’s Historic Overtown, Hogges was inspired by the legendary Florida Highwaymen and renowned artist Purvis Young. With a deep understanding of art history, he has studied painting at the Artists at the Falls Art Studio and Miami-Dade College, refining his technique under acclaimed artists such as Maribel Cortes and Edel Bordon. His work is influenced by global artistic movements, including the drip technique of Jackson Pollock, and enriched by his studies at world-renowned institutions such as the Louvre, the Van Gogh Museum, and the Metropolitan Museum of Art.
A Celebration of Abstract and African Diaspora Art
Hogges’ work spans abstract compositions and African Diaspora narratives, utilizing oil on canvas, mixed media, quilted plywood pieces, charcoal drawings, and sculptural elements. His abstract pieces defy conventional form, creating a sense of mystery, movement, and depth. His African Diaspora artworks honor the resilience, beauty, and achievements of people of color, blending historical storytelling with modern artistic innovation.
Exclusive Wealth-Building Artworks
As an artist and visual arts entrepreneur, Hogges has created 65 distinctive works for collectors seeking investment-grade pieces. His gallery offers a private setting where guests can engage with these unique and upscale creations—each a statement of artistic and cultural significance.
Upcoming Exhibitions and Private Viewings
Solo Exhibition – April 13, 2024
Perrine Community House, Palmetto Bay – Presented by Art South & the Village of Palmetto Bay
Group Exhibition – December 16, 2023
Artists & Authors Journey – Majorie & William McDonald Center, North Miami Beach
By Appointment Only – Schedule Your Private Viewing
Art collectors can schedule a private appointment to experience and acquire these exceptional works.
Explore, invest, and enrich your collection with original works from Ralph Hogges Abstract & African Diaspora Art Gallery—where culture, creativity, and wealth-building art converge.
“Memory of the Water” Opening reception will take place next Thursday March 13th from 6 to 9pm.
Memory of the Water” is Ana Vanessa Urvina’s first solo show at the gallery. ]
The sense of belonging and the changing spirit of nature are precisely what Urvina explores in Memory of the water. In her work, flora and fauna have become indistinctive elements: vegetable and animal frontiers no longer exist. The result are these seductive, haunting pieces: different landscapes, yet one body connected through a constant flow. A memory not just because of what she remembers, but because water itself carries the echoes of our identities and cultures; their beauty and complexities. Water itself represents the fierceness and vitality that we have inside.”
Located in Midtown, Miami, and founded by Isabel Tassara in 2018, specializes in Contemporary visual art from Latin America. The gallery represents young and mid-career artists and incorporates artists of great renown and career, favoring the link particularly between Latin America and the United States and Europe. Coral Contemporary Gallery works with a select group of artists and manages the exhibition, sales and promotion. Of his works. It also offers tours, dinners, and visits to artists’ studios, with the intention of generating an experience through art with his clients and the public. The gallery also has a unique educational program that aims to nurture and develop the relationship between art and their community. Talks and interviews with artists, panel discussions and immersive art experiences in the gallery are some of the actions it develops. By providing a space to connect the public across various art forms, the gallery serves as a place to contemplate, acquire and connect art and the viewer, while expanding its boundaries.
FEMEN activists in Paris (Photos: Instagram/capucinehenry)
Excelente arte, llamativas y desafiantes pinturas en los pechos de las parisinas.
Por qué las mujeres llevaron su lucha contra el fascismo a las calles de París en topless
En el Día Internacional de la Mujer, las activistas de FEMEN protagonizaron una protesta impactante y provocadora en París, marchando en topless y con frases atrevidas y desafiantes pintadas en el pecho. Esta audaz manifestación no fue sólo un acto de resistencia contra el patriarcado, sino también una condena del fascismo y el autoritarismo. Cuarenta mujeres, decididas y sin complejos, salieron a la calle, convirtiendo sus cuerpos en lienzos de expresión política. Llevaban en el pecho las inconfundibles imágenes de las banderas estadounidense y rusa, con las palabras «Epidemia fascista» y el símbolo de la esvástica garabateados con pintura, enviando un escalofriante mensaje sobre el auge mundial de las ideologías fascistas.
El acto de pintar estos símbolos en sus cuerpos fue una elección deliberada: una representación artística y visceral de la relación entre nacionalismo, fascismo y patriarcado. La esvástica, históricamente vinculada a los horrores del fascismo, y las banderas nacionales, a menudo símbolos de estructuras de poder opresivas, se yuxtaponían a la crudeza del cuerpo humano, símbolo de la lucha por la libertad y la igualdad. Esta imaginería, descarnada e inquietante, pretendía no sólo enfrentarse a las ideologías de extrema derecha, sino también concienciar sobre la violencia que el autoritarismo político y los sistemas patriarcales imponen a las comunidades marginadas, especialmente a las mujeres.
Al elegir marchar en topless, FEMEN reafirmó su compromiso de siempre de utilizar sus cuerpos como instrumentos de expresión política. Sus pechos, descubiertos al público, se pintaron como una manifestación visual de resistencia: resistencia contra la supresión de los derechos de la mujer, resistencia contra los regímenes opresivos y resistencia contra el autoritarismo que se extiende por todo el mundo. De este modo, reclamaron una Europa feminista que se enfrente a la creciente ola de fascismo y patriarcado con fuerza, unidad y una inquebrantable exigencia de igualdad.
La acción de FEMEN en el Día Internacional de la Mujer fue un duro recordatorio de la intersección entre la igualdad de género y las luchas políticas mundiales. Pintó un potente cuadro de cómo el arte, el activismo y el cuerpo humano pueden unirse en la lucha contra las fuerzas autoritarias, afirmando el derecho a existir, resistir y exigir un mundo libre de opresión.
FEMEN activists in Paris (Photos: Instagram/capucinehenry)
HUMANITY ART EXHIBITION celebrating Women's History Month
HUMANITY ART EXHIBITION celebrating Women’s History Month.
Saturday, March 22 · 10am – 5pm EDT
Southwest Regional Library
16835 Sheridan Street Davie, FL 33331
HUMANITY Art Exhibition runs from 10am until 5pm with a reception at 2pm.
We are celebrating Women’s History Month through art. We did it last year and we will be doing it again! We invite you to come see these beautiful paintings by the phenomenal, Jamaican born, international visual artist Andy Ballentine. Reception starts at 2pm. – Come listen to the silky voice of the award winning movie producer, talented song writer and artist, Tanieka Nichols Clarke. – ART SALES! – Speakers and award presentations. – Surprise artist. – Media Blitz. – Prizes and surprises! Host: The beautiful Sophia Elaine Jackson-Nicholson. Food and refreshment! This is a fund-raising event in support of Aiding-Aids, Inc. and all it does in the community. Please visit us at aidingaids.com
FOLK AND FOLK-INSPIRED PIECES FROM EUROPE AND THE AMERICAS
FREE CONCERT BY CHAMBER ENSEMBLES
The Alhambra Orchestra
Fostering a Lifelong Love for Classical Music and Community Engagement
Daniel Andai Artistic Director, Co-executive Director, and Conductor
FROM FOLK TO CLASSICAL
Prepare to be swept away on a journey across continents as the talented members of our orchestra breathe life into a vibrant tapestry of folk-inspired works from Europe and the Americas. Join us for an evening of enchantment and celebration as we unite through the universal language of music.
DATE: Sunday, March 16, 2025 TIME:7:30 PM VENUE: Coral Gables Congregational Church » 3010 Desoto Blvd.,Coral Gables 33134 FREE: No Tickets Required.
Small ensembles from the Alhambra Orchestra, led by by Artistic Director Daniel Andai, present lively folk music from England, Romania, Ireland, Spain, Russia, Latin America and the U.S., passed through the hands of talented composers and arrangers. Bring your family to enjoy works by O’Connor, Vaughan Williams, Copland, Bartok, Dvorak, and more. See individual instruments of the orchestra up close as string, woodwind and brass ensembles bring these enchanting traditional tunes to life in the intimate setting of a lovely historic church. The Alhambra Orchestra is Miami’s community orchestra, presenting live classical performances in affordable, convenient venues.
Details: Sunday, March 16, 7:30 pm., Coral Gables Congregational Church, 3010 DeSoto Blvd., Coral Gables. Free, no tickets or reservations needed. For questions or to request special accommodations, contact Alhambra Orchestra at (305) 668-9260, email [email protected]
Calendar entry: “From Folk to Classical” – Members of Alhambra Orchestra perform lively folk and folk-inspired music from Europe and the Americas. Sunday, March 16, 7:30 pm., Coral Gables Congregational Church, 3010 DeSoto Blvd., Coral Gables. Free, no tickets or reservations needed. For questions or to request special accommodations, contact Alhambra Orchestra at (305) 668-9260, email [email protected].
With a mission to connect and enrich Miami’s community through music, the Alhambra Orchestra stands out as a beacon of musical excellence and cultural enrichment. Our commitment to showcasing classical music through accessible performances not only delights audiences but also contributes to the cultural vibrancy of Miami.
Daniel Andai is concertmaster, frequent soloist and guest conductor of The Miami Symphony Orchestra. He was also concertmaster and frequent soloist of the Philharmonic Orchestra of the Americas in New York with whom he recorded the Billboard’s highly rated SONY Classical CD and made televised solo appearances for a crowd of millions during Mexico’s Bicentennial celebrations at the Angel of Independence. He has held concertmaster positions with orchestras in Mexico, Brazil, Switzerland, and France, performed in the sections of the New York Philharmonic and the Miyazaki Festival Orchestra in Japan, and worked closely with members of the Emerson, Vermeer, Cassatt, and Miami String Quartets, and the New York Philharmonic, Pittsburgh Symphony, Metropolitan Opera, Berlin Philharmonic, Vienna Philharmonic, Philadelphia Orchestra, Chicago Symphony, New York City Ballet and New York City Opera, among others. Daniel Andai is the Artistic Director of the Killington Music Festival in Vermont and former violin professor at the University of Texas Pan American where he also chaired the Marialice Shivers Endowment in Fine Arts. He has served on the faculties of Miami Dade College and New World School of the Arts, and holds a Doctor of Musical Arts degree from the University of Miami, Master of Music and professional studies degrees from the Manhattan School of Music, and a Bachelor of Music degree cum laude from Lynn University Conservatory of Music. He received the High School Diploma from New World School of the Arts High School.
East Gallery March 7 – April 26, 2025 Opening March 7th, 6 – 9pm
Arts Warehouse Delray
313 NE 3rd Street Delray Beach, FL 33444 (561) 330-9614
Free admission
Angela Bulich. Landis Carey, Dominique Denis, Sarah E. Huang, Michelle Lawrence, Ma Nong, Marianela Perez, Renee Rey, Kelley Ryan, Edward Stinson III.
Totems serve as emblematic visual symbols, embodying histories, identities, and narratives that extend beyond their immediate form. They channel personal and ancestral memory and offer a profound metaphor for selfhood and belonging.
In this exhibition, each artist creates a totem representing identity. Drawing from ancestry, travel, history, and spirituality, these totemic self-portraits convey complex layers of meaning. As you engage with these works, imagine the unseen histories embedded within their visual forms. How do these totems from this eclectic and diasporic group of artists connect? Do they connect? Consider the symbolic visual language that shapes your own totemic identity.
Rooted & Rising is the first exhibition in which the Resident Artists of Arts Warehouse have experimentally united to address a central theme. The residents’ dedication to forging artistic breakthroughs through purposeful discussion, constructive and candid feedback, and fostering a safe, collaborative environment that encourages a growth mindset and embraces challenges has resulted in these works.
Opening, March 7th, 6 – 9pm Artist Talk, March 15th, 11am
Arts Warehouse Delray
Back Room Gallery
313 NE 3rd Street Delray Beach, FL 33444 (561) 330-9614
Free admission
Intergalactica, Out of the Fire, an installation of dozens of hand-built ceramic sculptures by artist Jeff Whyman. The significant number of work exhibited collectively gives an air of ceremony and sacredness, activating the room with mysterious energy.
Whyman’s ceramics are inspired by earth found nature as well as intergalactic rock formations, while being made up of everyday vessels such as cups, plates, and vases. The sculptures are made up of recognizable utilitarian forms fused together to create other worldly vessels. While recognizable, the elements are altered with sagging, stretching, and misshapen areas.
Inspired by the clay, Whyman creates a piece all in one session while the clay is still wet. In the assembly process he often adds materials such as sea glass, Chinese crystals, mineral oxides, metal nails, and wood ash. The combined shapes and materials create new vessels that call to mind stalagmites and space rock. Using both wood and soda fire processes in the kiln, the works are marked with unique colorations not revealed until extracted from their firing place.
Jeff Whyman is a south Florida based multi-disciplinary artist working in ceramics, steel sculpture, and oil painting. Born in St. Louis in 1953, he studied ceramics at the Kansas City Art Institute and has been exhibiting his work since 1976. He fell under the influence of his prolific teachers and of Peter Voulkos, an artist known for abstract expressionist ceramic sculptures. He and Voulkos had in common their first art expression being painting, their discovery of a feeling for clay, and their move to metal sculpture as a means to larger scale. It was Voulkos who urged Whyman to return to clay after years of concentrating on steel.
Whyman’s south Florida based home studio houses hundreds of ceramic works, with more being created each day. This consistent act of creation by the artist is a calling. Meditative in nature, Whyman creates what the clay inspires. He has exhibited in numerous solo and group shows around the United States, and has work in many public and private collections. He attended the University of California, Berkeley for his M.A. and M.F.A., after attending Kansas City Art Institute for his B.F.A. Whyman has also participated in dozens of residencies and workshops both as instructor and participant.
