Paul Glass

Paul Glass

Statement of Work

My art work represents a lifetime of attempting to bring art and science together. Over the last 40 years I have worked for Colleges of Medicine, museum conservation departments, private research study groups and a multitude of other unique organizations. Working in these intriguing worlds has given me the chance to see and participate in cutting edge science and technology.

My work centers around photomicroscopy; the investigation of the microscopic world with a camera. My primary assignment over these many years has been the documentation of medical research projects to provide micrographic proof and support for primary investigators and other faculty of their research. This allows research medical journals to provide peer reviewed support and approval thus allowing scientists to internationally publish their findings and seek more research funding.

The art I’m presenting is a conglomerate of all these thing I do in my day job but with a twist. Many years ago I discovered my microscopes were a chance to look at non-biological materials as well. I began to experiment with paints, dyes, inks and stains by controlled design at the microscopic level. These initial experiments were so interesting I decided to buy my own microscopes and lab equipment to explore these new planetary landscapes. Along the way I brought in electron microscopy, radiology, cat scans, MRI and many other imaging methods. The real fun is getting to play with these very expensive toys after everyone else goes home.

 
 
 – Paul Glass
Eye to Eye

Eye to Eye

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2015 Camp Scrapbook

2016 Camp Scrapbook

John Gurbacs

John Gurbacs

Leaves by John Gurbacs

“Leaves” by John Gurbacs

My paintings have evolved from the observation of the environment, both natural and man-made.

I am also interested in fractals. Fractals are described as computer generated forms that interpret the geometry of nature. It is a system where forms in nature are defined in mathematical terms.

The forms of nature are repeated in the realms of earth, air, fire, water, and ether. This repetition extends from the micro to the macro levels. We can see that the branches of a tree are similar in form  to a bolt lightning or that rings of Saturn resemble the rings of water in a puddle. Yet they exist separately in time, space, and scale. There exists and order of continuity throughout the different realms. There is also a balance between chaos and order the within this system. The stripes of the Zebra appear to be same yet no two Zebras have exactly the same pattern. All humans have similar finger prints yet each one is unique.

To describe my painting process, I take photos of things like construction debris, tropical foliage image, and microscopic patterns. I look for images that connect and complement or contrast. I make many collages and eventual something will make sense. Then I draw out the images on canvas and paint. Some of my paintings take months. I use oil paint on canvas and in my outdoor murals I use latex paint.

In my paintings, I am interested in showing the similarity and contrast between natural and man-made forms. I look for connections and relationships between forms and scenes. By realizing these concerns, recognition occurs both visual a physiological. This helps define for me a fractal like oneness as is found in Buddhist mandala paintings which is a source of inspiration for me. This focus has allowed me to devolve imagery that reflects on a range of issues from social and environmental concerns to mediations on the patterns and actions of nature. By showing a shifting of scenes in my work, events and forms merge while at the same time retain their own individual identity. The interactions  between  the scenes and images help define new relationships and meaning. I am seeking a balance between opposites such as order and chaos, large and small, or the physical and metaphysical. Working with this attitude reveals for me new interpretations and ways of seeing the world.

Rebecca Piskura

Rebecca Piskura

"Eira" by Rebecca Piskura

“Eira” by Rebecca Piskura

Art is more than the result; it is the process that makes it great.  Somewhere between the original thought and the canvas, magic happens.  To me, as an artist, this magic is nowhere more apparent then when I’m striving to capture the light, emotion, beauty and mystery found in the endlessly fascinating always individual and expressive human face.  

This is a great adventure which can take me back in time to study historical themes, soaring on flights of imagination, or deep into the human condition.  I am currently working with the playfulness of watercolors, the luminosity of pastels, and the immediacy of charcoal.  

I’m finding art to be what will certainly be a life-long exploration where both I and my skills are always evolving, as magic unfolds.

I am honored to have portraits in several private collections across the country, to have my art displayed in an international magazine, and I enjoy the opportunity to display my current explorations in local art shows.  

Billy Joe Hoyle

Billy Joe Hoyle

Train station, Ahmadabad, India 1999

Train station, Ahmadabad, India 1999

“From Asia to North America”

From Asia to North America is a comprehensive look at the human condition through the eyes of photographer Billy Joe Hoyle. This exhibition includes a collection of work covering two decades and seven countries. Often described as a story teller, Hoyle’s work is reminiscent of the post-war Humanist School of street photographers. 

Barbara Moak Willey

Barbara Moak Willey

Barbara Moak WilleyBarbara has always loved art. As a young girl Barbara would visit a secluded site in the woods neighboring her upstate New York home to observe and sketch birds in their natural habitat.  As a Girl Scout, she was first introduced to painting by her den mother and her love of painting began in those classes.

She attended the State University of New York at New Paltz achieving her Bachelor of Science degree and the University of New York at Albany for her graduate work in Art Education.   At New Paltz, Barbara studied under Professor Sheldon Schoenberg whom she credits with teaching her the fundamentals of observation and the fundamentals of drawing.  She believes this intense focus on drawing was the foundation for her tendency toward more realistic paintings. After teaching in the New York school system for 10 years she moved to Florida where she worked as editor and graphic artist for a trade association magazine before joining the staff of a multinational corporation. 

"Waterway at Millennium Garden" by Barbara Moak Willey

“Waterway at Millennium Garden” by Barbara Moak Willey

In her spare time, her first love was always painting. As a painter with a wide range of subject matter including still-life, land and seascapes and animals she worked in acrylic until she decided to enroll in a class in oil painting in 2015. Although her range of subjects remains the same, the body of works in oil primarily encompasses landscapes and seascapes.   

Her work has been exhibited at restaurant openings as well as private galleries and interior design boutiques. She has sold commissioned works in New York, Virginia and Florida and her works have been purchased by private collectors throughout the United States.   Barbara has exhibited her works at Tada Gallery and the Carrollwood Cultural Center in Tampa, where she is currently the featured artist. 

Mary Bradley Therapeutic

Mary Bradley Therapeutic

Mary Bradley offers a variety of innovative therapeutic and recreational programs for active and dementia seniors. We offer custom kits designed by an Occupational Therapist that will allow seniors to participate in stimulation activities, regardless of their physical or mental limitations. Our team of certified professionals are eager to provide quality care to your residents.

Art participants will showcase their work in the Corridor Gallery at the Carrollwood Cultural Center through June.  A reception tea is scheduled for May 12 at 2 p.m.

Fearless Fibre

Fearless Fibre

“Snarl” by Carolyn Kossar

“Snarl” by Carolyn Kossar

In Fearless Fibre exhibition, six Florida Fibre artists present fearless explorations of the many forms that fibre work can take. 
Sarah Butz – Printed and embellished fabric.
Barbara Pittmann Forgione – Serti technique on silk, with embellishments.
Barbara Kazanis – Eco Dying and fibre collage.
Carolyn Kossar – Non-traditional fiber .
Elizabeth Mitchell – Serti  technique, with mixed media.
Mei Ling St Leger – Dyed, printed and embellished fabric.

Preparing for the exhibition has lead to collaboration and inspiration.  In “times like these” humanity will need to live like workers in fearless fibre. We break out of old ways of doing things, we go forward not knowing the outcome, and we deal to unexpected results, making them work within the whole.

Like all who claim their art making birthright, we are ARTISTS. We are not hung up on dualities but celebrate them; we  proceed regardless of the sirens of gloom and doom; we tell our individual story together in our freedom to create. Like Clotho, Lachesis and Atropos, we take up the thread of our story, and weave it, and know when it is good.