Our sculpture projects originated in 2009 with the installation of 15 monumental sculptures placed throughout the grounds of the Boca Raton Resort & Beach Club. A project at The Ritz-Carlton Key Biscayne was added in 2012 and The Ritz-Carlton Coconut Grove in 2016. Artists on view have included Bill Barrett, Fernando Botero, Peter Busby, Aurora Canero, Lynn Chadwick, Johan Creten, Carole Feuerman, Patrick Hughes, Jun Kaneko, Rob Lorenson, Jane Manus, Javier Marin, Julien Marinetti, Jedd Novatt, Dennis Oppenheim, Mauro Perucchetti, Peter Reginato, Henry Richardson, Sophie Ryder, Ernest Trova, Boaz Vaadia, Hans Van de Bovenkamp, and Bernar Venet.

Works on view at the Boca Raton Resort and Club currently include Metis Atash, Bill Barrett, Max-Steven Grossman, Kim Keever, Wendy Klemperer, Rob Lorenson, Donald Martiny, Jane Manus, James Austin Murray, Udo Noger, Peter Reginato, David Remfry, Ernest Trova, Tigran Tsitoghdzyan, Boaz Vaadia, Manolo Valdes and Francisco Zuniga. This venue provides museum quality works for acquisition, while adding an educational and cultural enhancement to the property. Our space is located in the main lobby. 

By quoting figures from well-known works of art, Manolo Valdes revitalizes these familiar images by taking them out of their original context. In both paintings and sculptures, he inflates the figure's size, abstracting form and minimizing detail, while incorporating a lot of roughly applied surface texture.

In this sculpture “Infanta Margarita”, Valdes pays tribute to Spain’s great master painter, Diego Velasquez.  His painting of “Las Meninas” (The Maids of Honor), painted in 1656 depicts Margarita Teresa of Spain in fashion of the era.  The most striking characteristic is the huge expanse of the voluminous dress.

Infanta was the title and rank given in the European kingdoms of Spain and Portugal to a son or daughter of the king.  Margarita Teresa was the favorite child of her father, King Philip IV.

What are we to make of Tigran Tsitoghdzyan's "Mirrors" — big, bold portraits, confrontationally large, and black and white, like the negative of a photograph, the colors of life enigmatically erased as though in a melancholy underworld? They are clearly masterpieces, but for all the beauty of the female model peculiarly bleak. However well-realized—empirically precise, insistently descriptive—her appearance, she seems peculiarly unreal. The hands that hide her face, yet let her piercing eyes magically see through them, suggest she is a delusion. Ambiguously transparent and opaque, her hands convey the ambivalence built into the artist's "handling" of her.

Working in both monumental and small dimensions since the 1970s, sculptor Gino Miles  (b. 1952) is inspired primarily by 20th Century European masters such as Moore, Brancusi, Archipenko, and Marini. Gino distills his love of the classical figure and objects found in nature, working with a sparse and contemporary language that embodies tranquility. Stripped of an overt narrative, Miles’ abstract forms achieve a poetic harmony of man and nature, with subtle references to both the human form and ancient cultures.

Gino Miles became interested in painting and sculpture in the early 1970s at the University of Northern Colorado, where he also earned a Master of Arts degree in Sculpture. He studied at università per i stranieri in Perugia, Italy, and at the accademia di belle arti in Florence, Italy.  He lived in Italy for ten years in the 1970’s and 1980’s. A profound love of teaching inspired Miles to help establish Italart, a school for American and German students in the Chianti region outside Florence.   After many years of study and work in Europe, the artist and his wife returned to the US and settled in Santa Fe, NM, where they raised three children, who are without doubt Miles’ greatest works of all and the source of immense and never-ending pride.

Working in both monumental and small dimensions since the 1970s, sculptor Gino Miles  (b. 1952) is inspired primarily by 20th Century European masters such as Moore, Brancusi, Archipenko, and Marini. Gino distills his love of the classical figure and objects found in nature, working with a sparse and contemporary language that embodies tranquility. Stripped of an overt narrative, Miles’ abstract forms achieve a poetic harmony of man and nature, with subtle references to both the human form and ancient cultures.

Gino Miles became interested in painting and sculpture in the early 1970s at the University of Northern Colorado, where he also earned a Master of Arts degree in Sculpture. He studied at università per i stranieri in Perugia, Italy, and at the accademia di belle arti in Florence, Italy.  He lived in Italy for ten years in the 1970’s and 1980’s. A profound love of teaching inspired Miles to help establish Italart, a school for American and German students in the Chianti region outside Florence.   After many years of study and work in Europe, the artist and his wife returned to the US and settled in Santa Fe, NM, where they raised three children, who are without doubt Miles’ greatest works of all and the source of immense and never-ending pride.

Michael Dweck is an award-winning filmmaker and visual artist known for his narrative photographic and film projects. His work depicts the beauty and complexity of human life, while exploring on-going struggles between identity and adaptation within endangered societal enclaves. The artist says of his work, “I’m not a documentarian that explains a foreign world, not the insider bragging about his haunts, but rather a visual storyteller, who tries to transport and immerse you into a very particular cloistered cultural ecosystem and tells the stories of its characters in the process.” 

Dweck holds a degree in Fine Art from the Pratt Institute in New York. During his earlier career as a highly regarded creative director, Dweck received over forty international awards, including the coveted Gold Lion at the Cannes Lions International Festival of Creativity 

The artists' objective is to distill the stereotypical perceptions and associations within our culture into visually compelling objects, sculptures and installations. Whether they are creating an installation describing the impending doom of the dinosaurs or a valise filled with gold lucky charms, their iconography is drawn from the animals, objects and/or situations that operate as commonplace tropes within our culture. Berg & Myers take these generic stand-ins and invest them with multiple meanings through humorous allusions. The aesthetic decisions they make are informed by the consumer culture we inhabit and their desire to create ultra-smooth forms and high gloss finishes that seduce the viewer. Although each individual piece we create may be understood on it’s own terms, the pieces within each exhibition reinforce one another and manifest connections, which make the whole greater than the sum of its parts.

Isabelle van Zeijl is an established mid-career international acclaimed artist. Recognized for her mastery to create striking self portraits with depth and meaning who enriches life, possessing lasting and impressionable depth and value. 

Van Zeijl dips into the post-modern to craft a vision of feminine power that will have you questioning both historical and 21st-century concepts of beauty. Van Zeijl produces the scenes entirely independently, she is both model, creator, object and subject. Her work  possesses a timeless beauty, transcending the boundaries of epoch and media. 

Born in Gat Rimon in 1951, Vaadia grew up in a rural community where his parents, Nissim Vaadia and Rivka Horozlaski, farmed strawberries. In 1968, he enrolled at the Avni Institute of Fine Arts in Tel Aviv but was drafted into the Israeli Army just a year later. After completing his service, he returned to school and began teaching there after graduating. In 1975, with a grant from America-Israel Cultural Foundation, he relocated to New York, where he studied at the Pratt Institute. The artist said he thought the move was “the worst mistake of my life,” but “within one week I actually recognized that the urban environment of New York is as natural as my village.”

James Austin Murray’s paintings are made using the most basic of means: ivory black oil paint, a canvas and wood-panel support, and wallpaper brushes—up to nine affixed to a long handle. But the surface effects are far from simple, and indeed offer an almost otherworldly experience, as the striations from the brush take the eye on a roller-coaster journey into pleats and folds, over light-struck hillocks and into shadowy crooks and bends. Depending on where you stand, the paintings look like a forbidding landscape you could walk right into. It’s a visual encounter that is both unsettling and profoundly seductive.