For more extensive artist's bio, articles and list of exhibitions, visit artist(s) website(s). Many of the images displayed on this site are copyrighted, and are used here only for purposes of education or critical review. All rights are reserved by the artists who created the works referenced herein.

Painting is silent poetry, and poetry is painting that speaks. Simonides

Mark Eliot Lovett

Mark Eliot Lovett





Born and raised in Maryland, Mark began playing guitar and singing professionally at the age of 14 and continued doing so into his thirties. His passion for visual arts did not take root until early mid-life, when he discovered his interest in visual arts. After struggling for years with alcohol dependence, Mark discovered that his passion for art helped the healing process in recovery, and led to a spiritual connection to every painting he creates. While Mark’s music can still be heard on his website or in infrequent live performances, his band and Vintage Guitar business became avocations, while art became his vocation and passion.

Mark, a graduate of the University of Maryland, studied figurative and portrait painting at Nelson Shanks’ Studio Incamminati in Pennsylvania, The Art League School in Alexandria, VA., and he attended several master artist workshops throughout the country, honing his skills depicting human form and painting live models regularly. Mark loves the old masters, such as Bouguereau, Schengel, Tissot, Harlamoff, DuBlaas, Andriotti, and Enjolras, among many others, and he strives to merge their techniques with his own style and vision.

Mark strives to create beautiful color harmony with a tasteful but vibrant-color palette, and to fuse same into carefully conceived compositions, using bold strokes, and impasto, yet creating a delicate rendering of the human face and form to capture the essence of his subjects on canvas.

Mark travels throughout Europe and America have provided inspiration for his images. He works with local models, including one who has been used in many of the famous Pino’s portraits.

Mark has won numerous awards including: 2006 Portrait Society of America Children's Portrait Competition; 2007 Women’s Club of Chevy Chase, MD Annual Art Show; 2005 Rockville Art League Art Show Winner and his
art has been featured in magazines including: Capitol File Magazine 2008; Washington Spaces Magazine 2007 and 2006; Who's Who of Strathmore Worldwide 2007-2008; Preview Magazine Art Expo, NY 2007; Strathmore Applause Magazine cover 2006; Art Business News Magazine 2006 and 2005. Mark’s listings and memberships include the American Artist - www.askart.com, Montgomery Gazette 2005; Oil Painters of America OPA; Portrait Artist Society of America; and the International Guild of Realism, Scottsdale, AZ.

In 2008, Mark was voted into the prestigious Art Renewal Center's Living Masters group as a "Living Artist". Now at ARC (www.Artrenewal.org), which features some of the world’s best known, living oil painters.

Mark’s paintings are available primarily from MarkLovettStudio, in private collections throughout the world, and from time to time, Mark makes some paintings available to galleries throughout the U.S.


















Eva Funderburgh




Eva Funderburgh is a ceramic artist located in Seattle, Washington. Coming from an education in chemistry and sculpture, she has focused herself on making strange whimiscal clay creatures. She works on exploring the colors natural to the clay and the finishing process of woodfire, and strives to present creatures that equally mix whimsy, mischief, and threat.





Eva Funderburgh spent most of her early life in Kansas, watching cartoons, playing video games, reading comic books, running around outside, and occasionally playing with craft supplies. When she wasn’t doing that, she was planning growing up and being a marine biologist so she could save the sea turtles.

In high school, she moved to Pittsburgh. While she’d often dabbled in clay before, it was at this point that she started to think about the possibly of art as a career. She was lucky enought to be a part of the Manchester Craftsman Guild after-school program, one of the best ceramics programs in the country. She also spent a summer at the Pennsylvania Governor’s School for the Arts, a summer program for talented high school students from across the state.
She went on to Carnegie Mellon University, studying chemistry and sculpture in a new interdisciplinary program. She also spent a semester studying sculpture at Nagoya Zokei University in Japan, an experience that helped shape her work as well as her approach to life. At the end of college career, she began focusing once again on the world of ceramics through independent study work, along with internships in wood firing and at Standard Ceramics Supply.
After college, Eva moved to Seattle with her boyfriend, who she later married. She served as an assistant to woodfire potter Steve Sauer for a year, before helping found Florentia Clayworks, a small co-op studio along with Susie Scheiber, Lin Holley, Randolph Sill, Suzy Jennings, and John Ellefson. She regularly helps fire Santatsugama, an anagama in Seabeck, WA, along with any other kiln she can help out at.
Eva’s work focuses on emotion and whimsy. It exists in the middle ground between cute and creepy, cuddly and sinister. In her sculptures, you can spot influences ranging from the tea ceremony to video games. She’s attracted to woodfire, finding it to be a symbiotic method finishing her pieces, allowing the kiln to play a significant role in her finished work. However, she’s always experimenting with new forms and new methods.



I make my sculptures to share what I cannot with words. They are my way of reminding both myself and the world of how life actually is. Through them, I hope to express the whimsy that gets hidden behind the mundane of day to day life. Each sculpture I make starts as a mix of images and inspiration from unlikely sources. They find themselves being created from half remembered scowls on the street, from speeches of jaded politicians, and from an enjoyment of bicycling in the rain. However, when all these parts are pulled together, something different comes out. The resulting creature doesn’t care where it came from. It is simply here to share its enjoyment of life.

For this reason, I feel that my sources of inspiration are no longer important once the work is presented. What is important instead is the viewers’ empathy with the sculpture. I want people to see the curve of a tail, the tilt of a wing, and feel the joy of flying. They should see the solidly set feet of a beast and be given the feeling the stubborn immobility. When people see my work, I want them to be reminded of long forgotten tales from their childhood. I want them to be brought back to a world of emotions and possibilities. I want to give the world back its whimsy.

Eva Funderburgh











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Esther Shimazu








Esther Shimazu is an American sculptor who was born in Honolulu, Hawaii in 1957. Her grandparents were immigrant laborers from Japan. She attended the University of Hawaii at Manoa before transferring to the University of Massachusetts in Amherst, where she received a Bachelor of Fine Art in 1980 and a Master of Fine Art in 1982.

She is best known for her stoneware sculptures of bald, nude chunky Asian women constructed with hand building techniques. They are colored with slips and oxides, bisque-fired, hand-sanded, and colored further with rubbed-in and airbrushed oxides. Then they are fired to cone 5-6 oxidation and sanded one last time.

She received a Wallace Alexander Gerbode Foundation Purchase Award, 2001, and an Individual Artist Fellowship Award from the State Foundation on Culture and the Arts, 1995.


Education:

1977 - 82
University of Massachusetts/Amherst, BFA 1980, MFA 1982

1974 - 77
University of Hawaii/Manoa, fine arts/ ceramics major











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Emil Alzamora

Emil Alzamora





Emil Alzamora’s figural sculptures challenge our conceptions of the classical body. At once beautiful and grotesque, his figures writhe sensually in space, seeming to defy gravity as limbs extend and contort beyond their natural limits. Alzamora works primarily in gypsum and bronze, creating unorthodox forms that range from brobdingnagian and life-size to miniature.

For Emil Alzamora (1975-present), art is not simply a profession; it is a way of life. Because his mother, aunt, and grandmother were prolific painters and sculptors, the aesthetic experience was an everyday part of Alzamora’s childhood. “I grew up around a ceramics studio where [my mother and grandmother] made all the things we ate out of. I was always surrounded by an artistic environment. My family instilled a sense of doing it and knowing you can do it and not questioning whether or not it’s a viable way to make a living.”

Alzamora was born in Peru and moved to Boca Grande, a small island off the coast of Florida, at the age of two where he lived with his mother and older brother, Daniel (Alzamora’s father left when he was just five). Frequent family trips to Spain and various cities along the Mediterranean were essential in shaping Alzamora’s artistry, providing him with the opportunity to see works by Michelangelo, Rodin, and Bernini first-hand. Like these three masters, Alzamora’s deftly executed figures and anatomical detail reveal a classical foundation that is counterbalanced by an expressive freedom. “Michelangelo, Rodin, and Bernini really captured something beyond the materials, something beyond the artificiality. They created a portrait of something that had the capacity to move you in some ways the way another human being can move you. It was a haunting illusion of life that drove me to no end to want to capture it, to find out what can be said in that context.”

Alzamora initiated his formal sculptural at Florida State University and honed his talents at the Polich Art Works in Newburgh, New York, a sculptural foundry where he worked after graduating. In 2001, Alzamora left the foundry to practice art full-time and continues to do so at his current home and studio in Beacon, New York.








BIOGRAPHY


Born in Peru, 1975

Education

1998, BFA, Florida State University








ARTIST'S STATEMENT

The human form is a constant within my work. I often exaggerate or distort it to reveal an emotional or physical situation, or to tell a story. Limitation and potential are as human as the flesh, yet hardly as tangible. In my works I strive to make visible this interaction.













ABOUT

Emil Alzamora was born in Lima, Peru in 1975 and raised in Boca Grande,Florida. He later attended Florida State University where he graduated Magna Cum Laude, in 1998, earning a Bachelor's Degree in Fine Arts.

Alzamora started his sculpting career in the Hudson Valley working with Polich Art Works in the fall of 1998. Since his departure from P.A.W. in early 2001, he has produced his work full-time and shown regularly throughout the United States.










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