November 12, 2020 – February 13, 2021
Guided Tours with the Curator and
Self-Guided Tours are Available with RSVP:
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Events for this exhibition are now concluded.
*RSVP required via Eventbrite. Group limit is 10 people. Group minimum is 3 people.
*Mask wearing is mandatory inside the facility and 6ft distancing will be enforced.
ArtServe is operating under the Museum/Gallery Protocol for Broward County.
As we transition into the new decade, we turn the canvas over to our members and resident artists in a celebration of art, culture, and breathing testaments of transformation and growth.
The Salon exhibition features new works and series by artists of all backgrounds and paths of life, highlighting our commitment as one of the nation’s original arts incubators to foster and advocate for artists working in all disciplines.
The chameleon series presents a set of vibrant, collage chameleons, each playing an instrument. The pieces, all jam-packed and whimsical, represent the intrinsic connection between different branches of art, and how artists at their root, are not bound to a medium but flow continuously using creative expression. The condition is best described not as an activity but a state of being. The term artist is often correlated with visual presentations, but art is much more fluid, and at its root is the expression and manifestation of the human experience, emulating emotion and significance. Chameleons are known for being able to adapt themselves to their surroundings, changing colors to keep up a clever display of camouflage. Artists tend to do quite the opposite, modifying their surroundings to their preference, more often than not emulating beauty in different contexts of life.
The chameleons for this reason are all a different color from their backgrounds, choosing not to blend in, but to stand out and “make music.” The connection between the chameleons and their instruments represents a bond of kindred spirits, tight-knit connections with members of the community capable of deciphering the message being transmitted through artistic expression.
After 35 years in the entertainment industry, Fabio is probing his current state of mind by creating digital art by manipulating digital photographs. He defines his artistic technique as Digital Origami. Though Fabio confesses, he is trying to guess what that means.
He thinks his “Fictional Portraits,” which appear in his pieces, might exist somewhere else in the universe. One day, Fabio plans to pick up a pencil, paintbrush, charcoal, and/or pen and make art the old-fashioned way.
My Roots 2018-2019
This Collection means a lot for me, each art piece attaches my feelings, my passions, and my beliefs…
In life, you have to get lost to get found again and remember how to sing like no one’s listening, love as you’ve
never been hurt, dance like nobody’s watching, and live like its heaven on earth…
Sometimes it’s more important to figure out where we are that decide where we are going. We forget that life is happiness and that Life it’s also a journey, not a destination…
I’m back to my roots to those things that define me as a unique person as we all are.
“Consider a tree for a moment. As beautiful as trees are to look at, we don’t see what goes on underground – as they grow roots. Trees must develop deep roots to grow strong and produce their beauty. But we don’t see the roots.
We just see and enjoy beauty. In much the same way, what goes on inside of us is like the roots of a tree…”
Happiness is when what you think, what you say, and what you do are in harmony. ”Happiness is the art of never holding in your mind the memory of any unpleasant thing that has passed. ”Don’t rely on someone else for your happiness and self-worth. Only you can be responsible for that. If you can’t love and respect yourself – no one else will be able to make that happen. Accept
who you are – completely, the good and the bad – and make changes as YOU see fit – not because you think someone else
wants you to be different.” That’s your way to happiness… Make your happy move!
I create contemporary sculptures, installations, collages, and paintings. Utilizing recycled and reclaimed materials is my preferred medium.
During these times of social distancing due to the Covid-19 Pandemic, I have joined and organized Zoom events which are bringing artists from around the world together.
I started teaching children virtually for new non-profit Hugs and Smiles, this brings me much satisfaction when you can inspire young artists, not only through the creative process but by educating them about different artists.
Mentoring Artists is also what I enjoy doing, sharing my knowledge, experience, expertise, and guiding them along the path to a successful career. On the Board at Broward Art Guild I bring Art around town, connecting artists to display work in different institutions. Currently, that is challenging since many public places are not open yet.
Similarly, with Outreach in which I coordinated artists to teach at adult retirement communities and summer camp programs for kids, those can only take place remotely at present. On the Board at the National Association of Women Artists Florida, I organize virtual workshops, bringing a wealth of knowledge and networking amongst fellow artists.
Creating collages and 3D Installations is my passion and given the opportunity, I would expand the series of wood and mixed media assemblages to a large scale.
I paint when I find myself inhabited with words and feelings that must be communicated through shapes and shades. Sometimes, I paint with a specific person in mind, someone who needs to be comforted and cheered up. I strive to craft work that reminds us of beauty and strength. Hopefully, each piece compels us to embrace our abilities, our resilience, and to dive into our passion.
Phoenix established love of nature as a child during family vacations to national parks. Although she taught film-making and photography early in her career she left them for some twenty years. Returning to photography in the digital age, she developed an exceptional talent and a passion to help protect nature and wildlife. Today she is an internationally collected, award-winning conservation photographer who was the recipient of two Artist in Residence programs – Great Smoky Mountains National Park and Olive Stack Gallery in Ireland, two public art grants, four public art awards, and many prestigious art awards. The featured artist for the first Endangered Exhibit – United Kingdom, her works has been honored in numerous juried exhibits, showcased in 20 solo exhibits, featured in magazines and calendars worldwide, and can be found in private collections internationally. Professionally Phoenix serves as president of the National League of American Pen Women, Fort Lauderdale Branch.
Though Phoenix’s subjects differ widely – from birds to sacred trees and forests to the moon over marshes and the Milky Way over national parks to dramatic sunrises and sunsets – her photographs carry her signature style that inspires peace and serenity featuring subjects that are either endangered or threatened. Known for her painterly approach to photography, her great sense of oneness with the natural world and understanding of composition, light, and timing comes through.
“I love the sacred opportunity to commune with the divine, transcendent essence of nature. For me, the extraordinary beauty of nature and wilderness is a wonder. Attempting to fix them in time is my passion; photography is my art. “With each image, it’s always my intent to raise awareness of endangered and threatened species and habitats that we stand to lose in the natural world if we are not careful. I desire that viewers are inspired to love, cherish, and protect the fragile beauty and wonder that is nature as they reconnect with that inner peace of each of my images. “The importance of nature is more than a scientific necessity for creating air, clean water, and producing food. It is a sacred necessity for healing and bringing peace to the human soul. And, I, for one, am a beneficiary every time I step out into nature.”
When we close our eyes when kissing or making love, it is the demonstration of our interest to concentrate on the sensation at the moment; it is to feel deeply. For scientists, it results from the drainage of a love hormone; for me, it is a symbol of surrender. And you, are you willing to blindly indulge yourself in oxytocin?
The landscapes of the Mideast draws me in. It is a place of my forefathers – yet exciting and modern in technology and the arts. A place that is close to my soul. Although not large these pieces are abundant in color and design. They are big pieces in a little format. Earlier such paintings included Hebrew font.
I am drawn to the movement and shape of these letters their mystical and historical roots (Kabbalah). These smaller paintings are void of these letters. The images alone convey my feelings. In other recent works, I needed to combine medium and font (“Psalm Series” and mixed media on fabric). These paintings make a statement lacking large size and mixed media.
My influences are from my youngest memories and abilities: drawing, painting, sewing, studies from my elementary education, and visits to the area. My belief in humanity, taking care of each other and our world is reflected in my love for nature and the landscape. I am amazed at what is before us. Artists that influenced me are Milton Avery, Pierre Bonnard, and Georgia O’Keeffe. These artists have a mastery of color and personal style in reinventing their surroundings.
Where will these paintings take me? One day I hope to paint large abstracts like sections of my small paintings. If you zoom into an area of these small paintings abstracts emerge. They are strong, energetic, and deserve visuals.
Creating with purpose and promoting a greener more conscious garment feels good. Our planet is in crisis and the time is now for positive alternatives in fashion and life.
I continue to learn and live a Zero Waste philosophy to help make a difference.
Together we can heal the planet.
My creative process is consistently evolving to maintain a balance of technique and “the unlearned.” Simultaneously, it unravels like an onion and taps into basic human desires for acceptance, love, and protection. I often explore how these desires are defined. I’m fascinated and comforted by boundaries, finding the loopholes, and then breaking the rules.
My art consistently represents subject matter through many textures, layers, colors, and strokes that provide playful yet organized chaos.
While I use a variety of materials and processes in each series, my methodology is consistent. Although there may not always be material similarities between the different series, they are linked by recurring themes. The subject matter of each body of work drives my material selections and my approach.
Connection and protection are socially, emotionally, and culturally at an all-time focus nationally and internationally. As a Greek-American Jew, I’m inspired by symbols that ward off evil and provide protection. In past years I’ve focused greatly on hamsas and I’ve now transitioned my interest to eye-like symbols known as “Nazars” which are used to repel the evil eye, and are commonly used across many cultures, ethnicities, and religions.
The name “Mati”, is Greek in origin and refers to the “evil eye”. This series visually addresses the idea that protection comes from something greater than ourselves. During the pandemic, my curiosity about nature and wildlife has expanded. Particularly with the symbolism of animals and the simplistic needs they have for survival. I work with a common theme placing the Nazar within an abstract environmental setting or an animal to create a story, to ask a question, or to provide an answer.
The process is critical for me. I use many textures that require certain technicalities and timing. In some ways, it’s like a birthing ritual and I enjoy layering and treating the canvases like bodies. I ensure that every inch of the foreground is included and often wrap my work in fabric or paper to begin that process.
Currently, I have created over 40 works since May of 2020 and have sold 35 to date.
Exploring the intersection of black hair and self-identity, Bundles is a reflection of the relationship black women have with hair. Bundles, a term used to describe virgin hair that is collected from a donor and sewn onto a weft, is a series of images and videos that challenge our reality and social norms of beauty and the value we put behind it.
Influenced by her personal and ongoing relationship with hair, the artist looks to her childhood and staples of black culture to create works that are an extension of self, inviting the viewer into a space of unfamiliarity and particular comfort.
The mixed media/found objects and collages represent our need to explore and dream. The use of recycled materials and in some cases abstract painting in my work is calculated, like assembling a giant puzzle. I am often looking for avenues of the unexpected: an ironic twist to putting objects together in a way that one may not expect. I love to take the viewer to new and unexplored territories.
The first time I touched clay, I knew I had found my calling. Since the early 1980s, my work has been defined by themes of ritual and ceremony, including exploration of the Japanese Tea Ceremony and primitive pit firing, in pieces like Coffee to Go, or my large-scale installation Celebration of Life, mirroring a funerary tomb. Influenced by years of international travel and living abroad, I realized that most cultures have more similarities than differences. Whether I am creating a vessel or working abstractly, the common denominator is marked by that which mankind has in common.
My art employs a controlled, yet random, manipulation of the clay in various states of plasticity that defines the form and reveals innate tactile traits. What happens when I slap a wet slab of clay on a thirsty plaster bat, or when my fingers pinch and prod the surface of an overly dry lump of terracotta? What can I do with the bits and pieces of clay salvaged from the work at large? Can they become an integral and creative part of the finished product? While symmetrical wheel thrown ceramics can be altered, the spontaneity of hand-building empowers me to explore and celebrate the “perfection of imperfection.”
Each piece is driven by the clay’s characteristic qualities. I stretch wet slabs to their limit, watching as the spontaneously embedded texture fuses with the shape. Sometimes these shapes are torqued or twisted to create abstract organic forms. Other times the long ribbons of textured slabs are utilized much like coils, building up an organic form or vessel, creating multiple layers of a textured surface, or simply using bare slabs as a canvas where applied textures come alive. The spiral motif is often repeated throughout my work representing the path leading from outer consciousness to the inner soul.
The Towers of Vulnerability Installation speaks to what humankind has in common and reveals the vulnerability of human beings and our society. Originating from the exploration of the soul and the passages that life experience reflects upon our being, each tower has its own unique set of entryways where life encounters flow in and out, leaving a distinctive impact upon both the individual and humankind. The precarious off-kilter appearance of the towers gives a nod to life’s unpredictability. Yet spiraling ever upward, the towers represent hope and prosperity.
The featured installation is only one of the ways the vessels can be installed. Another possibility that may be more suitable to the gallery is a pedestal based installation following the featured layout and staggering the heights of the pedestals.
My work is based on mathematics. It consists of subtracting, adding, and multiplying my mediums through tools, textures, and layers. My vision is to live life in a way that adds value to myself and others. This mindset is reflected in the way in which I choose to paint.
Encouraged by my professor Elmer Graig and peers to exhibit my work in fine shops and organizations, namely the Bake House Complex in the Wynwood area, Clay Space on Lincoln Road, Balogh Jewelers, Jonny Boyd’s and numerous exhibits in the design district.
I have had the pleasure of donating several pieces for charity auctions and fundraisers such as Art for Aids bringing in some handsome bids for the cause.
After a long sabbatical to pursue my medical career, I have now returned with a new approach as my ideas have changed with time and experience, allowing myself to break out of being a purest working only with clay. Keeping an open mind, working with an array of materials, mosaics, glass, and acrylics has been somewhat of a rebirth. This revitalizing attitude of mixed media has expanded my world as an artist with unlimited restrictions.
My latest works are highly texturized elongated dysmorphic body forms made with some recycled materials to give them a second life. Some figures are genderless, curvy, colorful, and tipsy requiring somewhat of a MacGyver building.
The “freedom” of being able to integrate all materials at hand has rekindled my passion and love for creating art in all its forms. I would hope to inspire anyone that would like to create and try something new to break away and explore all possibilities to be resourceful to create outside the box.
“Solo” is an installation that explores the journey through isolation and physical distancing, inspired during the Covid-19 pandemic. I felt motivated to tell the story of my own experience as it brought such powerful realizations in its expression. It also marks a time in our history that is unprecedented. This inspired me to infuse my evolving creative approach into this installation- and generate an ongoing conversation around loneliness and self-exploration.
Through abstract forms and hues found in nature, I discover the symbolization of our physical and spiritual realm. Interpreting this view with photography, I use a macro lens to present my subjects larger than life, while revealing intricate details and textures. Balancing random movement provided by a windy day with multi-dimensional viewpoints-all while focusing on one single fuchsia bloom- allows the story of “Solo” to unfold.
My creative process involves revisiting the imagery captured on a specific shoot and reflecting on how I felt at that moment. Intuition guides my vision as I tap into the experience, and the scene materializes. With this collection, I rearranged the components focusing on shape, contrast, and flow to strengthen the composition. Presenting 12 separate, smaller pieces enabled me to experiment with several scenarios on this journey.
The 11 pieces grouped take you through the phases we fluctuate between as we cope with the reality of the world crisis: moments of connection with others, interweaved with solitary stages, and the symbolism of space and time throughout.
A 12th piece that is isolated-literally and figuratively- brings you back to yourself…alone…solo.
This is an inevitable lesson of life and is so profound-yet affirming- for me.
The positioning of this last piece 6 feet away, within physical distancing guidelines, designated by an actual floor decal, was intentional to reflect the captured emotions of this awareness and current practice in our world.
Lori’s goal with Girl Noticed is often to paint girls and women who are underrepresented in society or highlight a female who empowers herself and others. Often both things apply. “Kamala” is a ballet dancer in New York City who has taken to the streets of New York to perform and express herself while theaters and dance halls remain closed.
“Wadley” is a young Haitian girl who was the inspiration for starting the nonprofit Girl Noticed. Her determination and resilience were what awakened Lori’s seven-year-old self and reminded her that often it takes only one person to “notice” and make a difference in another life.
The mural “Our Voice” was the result of six teenage girls who participated at an end of summer Girl Noticed workshop on zoom. All were taught how to scale drawings to create a mural. They were mailed supplies and assigned different sections of the painting designed by Lori Pratico called “Our Voice”. They were encouraged to use their creativity while keeping in mind their piece would have to scale correctly to fit the other artists, even though they would not see each other’s work. They would mail the pieces back to Lori to be fitted together. They did an amazing job. Their names are.
Gaby Lama, Age 15 from Aventura, FL
Lily Mitchell, Age 14 from Cooper City, Florida
Lucia Williams, Age 13 from Hollywood, FL
Olsmael Merisier, Age 17 from the Bronx, NY
Raegan Zalman, Age 13 from Hollywood, FL
Yana Danzig, Age 15 from Davie, FL
Miami Light is a joyful celebration of the color, cultural richness, and diversity that makes South Florida unique. The combination of vibrant color, graphic and flowing lines is intended to suggest the energy and dynamism, the exuberance of life in South Florida.