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

Laurie Goldstein-Warren







Laurie Goldstein-Warren



I am Laurie Goldstein-Warren and I live in West Virginia.

I have been painting watercolors for fourteen years. Art has always been a part of my life. When I was young, ballet, tap and jazz dancing was my creative outlet. I was a dancer in the Rochester Academy of Performing Arts dance troupe until the age of 18. Later on my creative path took me to hair styling. I opened my own salon in New York and competed in fantasy hair competitions. I loved these particular shows because you had to create something never seen before, more avante garde than styles you would see on the street. When I moved to West Virginia in 1998 and found myself in the countryside, I went back to one of my first creative loves, art.



After many years of studying the art of watercolor with some fantastic teachers and mentors, I have been so fortunate to have found success in this field. My artwork has been shown all over this country and was exhibited in China last year. I now enjoy teaching my limited palette techniques in portrait workshops and jurying exhibits around the country.

I found my voice in art… find yours….Create!











Tom Fleming











Tom Fleming




Since he was a child, Tom Fleming always knew wanted to be an artist. After graduating high school in Putnam Valley, New York, he went on to receive his BFA from the School of Visual and Performing Arts at Syracuse University, graduating at the top of his class in 1988.

In 1990, he landed his first full time position as an artist/designer for the World Wrestling Federation by answering an ad in the New York Times. After three and a half years of a corporate environment, he decided to return to freelance. He immediately accomplished his childhood dream of painting comic book heroes by being commissioned by DC and Marvel Comics to illustrate characters such as Superman, Batman, Spiderman, The Incredible Hulk, The X-men, and all his favorites. Then in 1995, Tom decided not to limit himself to the comic industry alone and moved to Wilmington, NC, where he now resides and works out of his home studio. Tom has illustrated such diverse subjects as Science Fiction/Fantasy, Sports, Wildlife, Landscapes and advertising products, along with his Super-heroes.

In 2000 Tom landed a job as the official illustrator for the Jody Foster movie “The Dangerous Lives of Altar Boys” with animation by Todd McFarlane. Since then, Tom has worked on movies & TV shows such as; "One Tree Hill", “Stateside”, “Stay Alive”, “Surface”, "Super" and the NBC TV show “Life”.

Tom is now exploring the world of Fine Art and Galleries with his award winning Giclee prints and original art.


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Isaac Cordal
























Isaac Cordal


Street Artist and Public Artist Isaac Cordal has just finished his most expansive installation of his little corporate and military men to date in Nantes, the city once known as the European capital of the human slave trade. “Follow the Leaders” is “a critical reflection on our inertia as a social mass,” explains Cordal as he describes the massive installation of about 2000 individual pieces.
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Spanish artist Isaac Cordal has an unconventional approach to public art. While most street artists seek to work on an increasingly larger scale, painting the facades of buildings with the aid cherry pickers, Cordal builds miniature sculptures that he hides in unexpected places. A critique of capitalism (in Cordal’s native country, the world-wide economic recession hit especially hard), Cordal’s work focuses on the mass-produced quality of today’s society. Miniature business men in suits are found in forgotten corners of urban sprawl. Cordal uses his environment to stage poignant scenes with the sculptures as his protagonists. Isaac Cordal is opening his debut US solo show at Anno Domini in San Jose, CA tonight, September 5, and the show will run through October 19. Take a look at some of Cordal’s work for the show as well as some street interventions below.

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En écho à son exposition au Temple du Goût, Isaac Cordal s’approprie la place du Bouffay. Mises en scènes dans la réalité de la ville, ses sculptures composent une armée de figures solitaires et mélancoliques évoluant au sein d’un univers bétonné dans lequel une touffe d’herbe ou une flaque d’eau deviennent les fragiles fragments du monde naturel.Sur cette place du Bouffay au caractère minéral, au sein d’un quartier faisant l’objet d’une rénovation urbaine, Isaac Cordal choisit d’implanter une île de gravats issus de bâtiments détruits dans d’autres endroits de la métropole.Des centaines de sculptures de l’artiste évoluent dans cette ruine contemporaine, témoins du caractère éphémère des constructions humaines. L’installation impressionne autant qu’elle incite à la déambulation, à la recherche du détail, au parcours méditatif.

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La reflexión sobre la sociedad actual a través de la escultura protagoniza esta nueva exposición de Isaac Cordal (Pontevedra, 1974) en las salas de la Galería Javier Marín. El modelado del alambre y las sombras inmateriales como capacidades representativas del cuerpo humano que pudimos ver en su anterior propuesta en la galería dan paso ahora al cemento, un material industrial que representa la huella del hombre en el entorno natural, una huella que no se puede camuflar y que ha ofrecido un resultado brutal en la sociedad civilizada. La ciudad es un invento tan antiguo como el caos de seres hacinados al calor y a la crueldad que la ciudad les ha procurado. Ahora bien, la noción de individuo, como unidad de pensamiento y de acción propios, es algo más moderna. Baudelaire recorrió y observó el París reformado por Haussmann. Se dejó arrastrar por la marea urbana, dando origen a un lugar común de la literatura, la filosofía y el arte contemporáneo: la soledad del individuo sumergido en el entorno urbano, la pavorosa capacidad de los grandes núcleos urbanos para engullir la diferencia, para homogeneizar hábitos y ritos, para alimentar la ruina lenta del desarraigo. A través de un interesante discurso de oposición a esa lepra existencial de lo urbano, Isaac Cordal explora el espacio del SOHO-Málaga en esta su segunda exposición en JM, una zona urbana céntrica de la capital malagueña donde se ubica la galería, mediante instalaciones de su reciente y conocida serie Cement Eclipses, un proyecto que discurre entre los campos de la escultura, la fotografía y el vídeo. La escultura fue utilizada como punto de partida para las intervenciones urbanas que han dado origen a la producción fotográfica y audio-visual que reune la exposición. Estas pequeñas figuras de cemento que se integran en el paisaje urbano representan una metamorfosis en la que el ser humano abandona su papel de ciudadano mimetizándose con la ciudad para convertirse en parte de su mobiliario urbano. En un homenaje al ciudadano común, Cordal retrata a perturbados hombres de negocios que se sumergen acompasados bajo el agua de un charco, a un indigente sentado junto a su perro a la espera de algún cambio en la sociedad, a una ama de casa que vuelve del supermercado con bolsas de la compra, o a un personaje que contempla un pequeño e idílico paisaje que encuentra en la soledad de su paseo cotidiano frente a un Museo. De esta manera el hombre confirma su aislamiento voluntario de la naturaleza, camuflándose entre las aceras, las calles y las paredes en su nuevo hábitat natural. Estos seres diminutos también ocuparán los espacios de la galería al igual que ocuparon las calles malagueñas durante un instante o se quedaron a vivir en aceras, fachadas, voladizos o marquesinas del paisaje local. Toda una serie de actuaciones cargadas de imaginación que Cordal aborda en ocasiones con gran sentido del humor y en otras llenas de un cierto dramatismo pero siempre utilizando grandes dosis de emoción. Un mundo de micro-relatos que encierra la complejidad humana y el papel del hombre en la urbe.  

Esma Paçal Turam














Esma Paçal Turam

( paper and silicone )

1963 Born in Istanbul.
1987 Graduating from the University Marmara Fine Arts Faculty, Sculpture Departmant (M.Ü.G.S.F.)
1988 became an academic assistant in the same department.
1990 attended the Department of Arts at the University of Minnesota as a visiting artist where she worked on bronze moulding.
1994, she was given a scholarship by the Austrian Government to study at the Salzburg Internationale Sommer Akademie Für Bildende Kunst for Paper Sculpture at Prof. Andreas Von Weizsacker’s workshop.
1996 PhD in “Paper Sculpture” in Art Examination at the Social Sciences Institute of the Marmara University
1997 she founded the Paper Workshop in the Sculpture Department of the M.Ü.G.S.F.
1998 became an Assistant Professor at the same University
2000, E.P. resigned from the Marmara University.
Since 1999 she has been continuing her work independently in her own workshop in Zekeriyaköy, Istanbul.








Esma Paçal Turam



ARTIST STATEMENT

HorizontalI live in a crowded city and have been fascinated with the communication between different people.
Spectators (2002, solo exhibition, paper sculptures) was about this. I was focusing on the individual in its urban surroundings. The interaction between the people through their surroundings: windows and figures were emphasized people were watching and being watched through the windows or the laundry hanging on a balcony was giving away so much about the occupants of that house.

A few years back, I visited Beijing. The crowd was like nothing I had experienced before. I felt like I was not only flowing with the crowd, but I was floating in it. Then, while still being in the crowd, I started seeing the individuals which made the crowd; happy, proud, old, young, dreamer, curious, bored – they were the crowd, but they were so strongly individual at the same time. Floating in it, flowing with it.

This was new to me, almost a shock. I had been living in a crowded city, but obviously I was making space for my self. My experience in Beijing led to the making of the “Curtain” (2004 Silicone Figurines). This work is the expression of the individuals floating in the crowd. Their individuality is expressed by emphasis on the movement and details eyes and hair of the figurines.

I always liked watching the raindrops coming together, flowing down a window a meditative and peaceful movement. Probably with this idea, I had been working with Silicone since 1994. My technique is to use a hot glue gun and therefore the silicone works almost like a pencil for me. The outcome is transparent, flexible. It shimmers like crystal or glass, it is light in weight like paper and it is a direct material. Most important for me is that I can draw directly with this material.

I was looking for a lace type of effect for the curtain, to be able to look at it from both sides. Silicone just clicked in as the right material for the work.

I carried on exploring to expressing individuality and moved on to doing the One of US (solo 2006, paper sculptures). These are large life size busts all standing alone on elevated legs, they interact with each other (arranged in groups) and form a crowd together with the viewer – but the floating feeling, which is unique to the silicone works is not included, emphasis was on the individuality. The effect was that the magic energy which the crowd gives was not there, these works were somewhat more “sad” in comparison, “lonely” is maybe a better word.

I then moved on to mixing both the paper and silicone in my new Projects.
The dome, representing a metaphorical “temple” is the focus of the individuals who come together and create the crowd (a belief, a hope or even a fear which brings them together). The theme of the crowd becomes louder in this project.

Esma Pacal Turam

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