Gallery at The Boca Raton

Boaz Vaadia was born on a farm in Israel in 1951, and moved to New York City to study art in 1975 on a grant from the America-Israel Cultural Foundation.  His compelling works have won him audiences worldwide.

His materials, slate and bluestone were formed by layers of sediment compressing over millions of years.  He hand carves slices of the stone with a hammer and chisel, (shaping the layers like a topographical map), and stacks the slabs until the graded silhouette of a person, animal or group emerges.  His process parallels natural transformations in stone, and also recalls ancient methods of construction that relied on the cut and weight of the stone rather than on mortar.

He then pairs them with glacial boulders which function as counterpoints to the figures.  These boulders settled in the New York Bay area during the ice age. Most of them are excavated from construction sites within 20 blocks of his studio.

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.”

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. 

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.

Roger Reutimann is a Swiss born sculptor, living and working in Boulder, Colorado. 

Reutimann's sculptures carry the imprints of our time. He shapes and forms the materials of the modern age, often using the methods of the past, and in the end leaves us something new to contend with. Our response to his work cannot be axiomatic. Forms have been distilled down to their base elements, leaving only pure geometrical lines behind, oftentimes suggestive of the human form. It is easy to be lulled by the apparent simplicity of it all, but it is in this moment of tranquil regard that the work fully reveals itself.

"My disciplined upbringing, my rigorous piano practicing, my aim for excellence, my sculptures are a reflection of all these things. I strongly believe in perfection." Knowledge and technique are hard earned guiding tools, to help navigate through the chaos of creative thinking. All this is reflected in an uncompromising and meticulous execution. Refining the surface and painting it with high gloss automotive finishes that leave no texture or unnecessary details to distract the eyes. It is condensed to pure and simple form.

Donald Martiny's paintings look straightforward--dramatically expressive gestural works, some small and invitingly intimate, most grand and intimidatingly large, all blatantly colorful, sometimes with a singular color in a sweeping shape, at other times with contrasting colors and intersecting shapes, dialectically interacting however at odds, subliminally reconciled however ostensibly irreconcilable--but that is deceptive, for they are as much abstract sculptures as abstract paintings, sometimes suspended in space, sometimes stranded on a wall, as though they were fragments of some grand mural.  If, as Hans Hofmann wrote, "the mystery of plastic creation is based upon the dualism of the two-dimensional and the three-dimensional,"(3) then the mystery of Donald Martiny's plastic creations is that they are two-dimensional and three-dimensional--paintings and sculptures--at once, and as such paradoxically monistic rather than dualistic.  For Martiny painting and sculpture--traditionally separated however often a sculpture may be given a skin of paint, and painterly texture may give a painting sculptural resonance--are implicitly the same.  Martiny's works are subjectively expressive--convey feeling, often intense, as the abruptness of the gestures suggest (they have a meteoric presence, as though articulated on the spur of the visual moment)--even as they show a mastery of the material medium of paint that makes them exemplary modernist works.

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.

Miles’ large-scale works are prominently featured in many permanent and private collections throughout the United States, Europe, and South America, including:   the Evansville Museum in Evansville, Indiana; the Polk Museum in Lakeland, FL; Disney Corporate Headquarters in Burbank, California; the Cities of Cerritos and Napa, CA, and the City of Edmond, OK; and Western Kentucky University, Bowling Green, Kentucky, among others.

Bernar Venet is a Conceptual artist best known for his versatility in multiple mediums, including painting, drawing, sculpture, installation, as well as stage design and musical composition. Venet became well known in the 1960s for his amorphous installations made by piling up loose gravel, coal, or asphalt; and “industrial paintings” from cardboard reliefs or tar. (Around that time, he decided to drop the last letter from his given name, Bernard.) Shortly after, inspired by the works of Minimalist sculptors like Donald Judd, Dan Flavin, and Carl Andre, Venet began to produce wall-mounted and freestanding metal sculptures. Among the best known are his torch-cut steel plates and beams resembling scribbles, lines, and arcs. Venet says that his sculptures are about “how metal resists. They are a test of strength—a battle between myself and the piece of metal.”

One of the leading sculptors in Britain after World War II, Lynn Chadwick is well known for both abstract and figurative works that embodied the tensions of the post-war era. His precariously balanced and monumental geometric figures have brought him international renown.

Lynn Chadwick was born in London in 1914.  He worked as an architectural draftsman in the late 1930’s and served as a pilot during World War II.  Though his family appreciated the arts, they dissuaded him from pursuing formal training in sculpting, pointing out the difficulty of making a living in the arts in Depression-era England.

Chadwick’s art career began in 1950 at his first solo exhibition in London which featured mobiles similar to those by Alexander Calder, whose work at the time was unknown to him. He soon eliminated the kinetic element of his sculpture but continued to use construction and assemblage methods rather than carving or modeling.