The art that is created today is how this time period will be viewed tomorrow. We want to make a difference in the lives of artists as well as a positive change in the world.
"Wet Paint" 2018 Show
This show will run September 1-30, 2018. Artists from around the world were called to submit their work. There were 73 accepted entries and they came from 13 different states in the USA as well as 9 other countries: Germany, Italy, Kazakhstan, Latvia, Russia, South Korea, Taiwan, Ukraine, and the United Kingdom. A variety of styles and mediums were entered, including but not limited to acrylic, oil, pigmented shells, and watercolor The judging criterion was originality, interpretation, quality, demonstration of ability, and usage of medium. Other factors, such as the clarity of the images provided and their ability to be viewed online, also contributed to our decision. “Best of Show”, “First Place”, and “Second Place” winners received a monetary award in addition to special recognition.
We were very happy to donate 10% of all entry fees from this show to Habitat for Humanity. Habitat for Humanity’s vision is a world where everyone has a decent place to live. For more information about Habitat for Humanity, please visit their website https://www.habitat.org/. Colors of Humanity Art Gallery, LLC is not affiliated with Habitat for Humanity. It is our hope that this small act of kindness will blossom and grow to help someone else.
Thank you to all the artists who participated! Your talents and skills gave us a diverse body of work to create this attractive show.
Buyers- Please contact the artists directly for sales. Colors of Humanity Art Gallery does not handle any part of the sale or collect any commission, it is solely between the buyer and artist. You may find a link to the artist’s website or email address below their work.
Noreen has been an artist from day 1! She does not know from where the obsession arose, for no one in her family was into the arts. But at the church she attended, although uninterested in religion, she went happily each Sunday for above the altar was a marvelous reproduction of Mother and Child by Raphael. It was stunning and so influential that she was set on a course of figurative art.
In High School there was but the minimum of art courses, for one who greatly desired professional training, so her Dad let her go during summers to Art Center School in Los Angeles, and another year to the California College of Arts and Crafts, in Oakland. She desired to return to one of these schools, but her Dad, pater familia, in the traditional Italian manner, said no, she had to go to the local University and take a degree. After that she could go back to an art school. As she grew up in an era when the age of maturity was 21, not 18, she had no choice. But as she passed the Entrance Exams with such high marks, she was allowed to omit the General Ed requirements and begin as an Art Major. She carried overload, was at the campus studios from 7 am to 10 pm, and loved every minute, and thus was able to graduate in 2 years, Phi Beta Kappa. She received her diploma at 10 pm, and at 3 am left with a friend for Chicago, where both had summer jobs, and from there she went to Cranbrook Academy of Art, in Bloomfield Hills, Michigan, from which she received a MFA degree in Studio Art.
Wanting to see the world, but with no resources, she joined the Peace Corps, had a wonderful experience with wonderful ceramicists in the altiplano of that beautiful country. On the way home, she asked for a ticket via Japan, a culture that she fell in love with. Returning to the States, eager to know more about the two cultures she had just visited, she attended the University of California Berkeley and Los Angeles, finishing with a Ph.D. in Art History, and has taught East Asian and Modern/Contemporary Art in the California State Universities.
Her interest in creating a series of paintings on the subject of MeToo stemmed from her personal experiences, in those ages when no woman who was object of sexual abuse dared to make it public, out of fear of the repercussions in a male dominated society. The issue is still there, but Noreen, in her MeToo series, is speaking out as have so many women recently.
I grew up in Santa Clara, Cuba and became fascinated with art at an early age. I remember helping my grandfather make charcoal from the Aroma tree. I always looked forward to helping him because it was a way for me to get free material to draw. I would pick up empty cigarettes boxes and brake them so I could use the white surface in the inside of the box to draw. I really enjoyed drawing with charcoal in different surfaces and it helped me capture my passion for art.
Due to political reasons, my family and I were forced to escape Cuba in 1995 and we moved to Miami. Starting a life in a new country was a very difficult task due to the absence of family and friends. Few years later I had the opportunity to meet the Cuban guitar player Arturo Fuerte. His music was, and still is, a constant backdrop to my work. Even today much of my work is inspired by his rhythm and my love for music. My work has been also influenced by Picasso, Braque and Wifredo Lam. Their style shattered traditional form of artistic representation and it reminds me of my broken memories of my life in Cuba.
In 2004 I moved to Honolulu, Hawaii where I started taking drawing and painting classes at the Honolulu Museum of Art Linekona School. Then I attended University of Hawaii Manoa to attain my Bachelor's Degree in Fine Art with a sculpture concentration. Here I was exposed to a variety of media: painting, photography, print making, glass, metal fabrication, and bronze casting.
Now as an emerging Cuban-American artist I am interested in representing various aspects of Cuba, including its political, social and cultural life. In my work I try to depict a society that has experienced extreme oppression but at the same time it has a rich culture and it is full of life. Through the use of rhythm and motion in my work, I wish to mirror this experience of freedom found through Cuban music.
My intention for a painting like "cigar" is to create parallel emotional expressions, one exemplified by the posture and facial character of the figure, and the other by the suggestive forms of the abstract painting hanging on a wall behind it. Since there is no direct interaction between the foreground figure and the background abstraction, I hope the viewer might find it interesting to try and imagine a common narrative between the two.
About the artist: just an old guy who got an MFA ages ago.
"A colorful ballerina"
by Daria Popova
by Daqian Zhang