Gallery at The Boca Raton

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.

Mauro Perucchetti was an only child, born in Milan in 1949. His early career in the arts began when he enrolled for classes in theatre studies and began acting in film. He worked with Elizabeth Taylor and Andy Warhol in the 1974 film, The Driver’s Seat.

Changing courses, he relocated to London and threw himself into interior design work.  In 2000, Perucchetti sold his design and architectural practice so he could become a full-time artist. Dedicating himself to art, he spent the next three years experimenting with materials before perfecting the formulation of the plastic he wanted to use.  It was lustrous and transparent, forever changing under different lighting conditions.  His use of polyurethane resins is pioneering and utterly original. 

When asked in early 2009 why he makes art, he explained: ‘I wish I could be a politician to govern fairly, a religious leader to guide pragmatically and a powerful entrepreneur to serve as an example and inspiration to others, but I can’t. However what I can do hopefully is create art that makes people think about global issues.’

Carole Feuerman’s sculptures are like minutes from a slice of life, frozen for pause and contemplation. And unlike looking at real people you get the chance for an up-close, unblinking gaze.

Feuerman says that her “work inspires the viewer to look closely at what stands before them.”  She wants the viewer to “complete the story, to reflect and feel touched”.   She explores universal feelings and emotions that are captured in a single, fragmented moment of time. Carole Feuerman’s sculptures are just too believable and she doesn’t forget a single detail. Casting figures from live models in her studio, she then adorns them with every attribute of life-likeness, applying tiny eyelashes, wisps of hair and painting the most convincing skin tones, freckles and veins. 

Because of its faithfulness to reality, her life-size and realistic sculptures are uncanny in that they are simultaneously familiar in their lifelike appearance and yet strange as static works of art.

Over the years Peter’s work has evolved from the simple concept of space being defined by a single line into sculptures that depict the structure of living form. He pushes the boundaries of his material, creating sculptures from intricately woven surfaces that look more like spun sugar than iron blended with carbon. It is the fluidity of the hand-bent rods that give the pieces a strikingly soft organic feel. Positive and negative space allows the viewer to pass through it, incorporating the surrounding environment. The sculptures feel both full and empty, and invite the viewer to complete the volume that the framework suggests.

He approaches the concept of public art from the perspective of inclusion and strives to appeal to and interact with a broad spectrum of viewers while inspiring the imagination on many levels. The body of his work expresses a commentary about the nature of the world we live in.

The stainless steel and aluminum sculptures created by Massachusetts artist, Rob Lorenson are a compositionally rich interplay of formalist elements.  They exist in suspended animation and are situated to freeze a moment in time; hovering effortlessly in space.  The work is constructed of sturdy, permanent materials but lives in contradiction to the impermanent sense of the composition.  He strives to emphasize the compositional qualities of the work, to create dynamic movement with static, solid objects.  

In 2002, Rob was commissioned by Massachusetts Institute of Technology (MIT) to create two editioned works to be given as Awards to Innovator of the Year and Humanitarian of the Year.

The stainless steel and aluminum sculptures created by Massachusetts artist, Rob Lorenson are a compositionally rich interplay of formalist elements.  They exist in suspended animation and are situated to freeze a moment in time; hovering effortlessly in space.  The work is constructed of sturdy, permanent materials but lives in contradiction to the impermanent sense of the composition.  He strives to emphasize the compositional qualities of the work, to create dynamic movement with static, solid objects.  

In 2002, Rob was commissioned by Massachusetts Institute of Technology (MIT) to create two editioned works to be given as Awards to Innovator of the Year and Humanitarian of the Year.

Fernando Botero was born in 1932 in Medellín, Colombia. His father was a salesman who traveled by horseback and his mother worked as a seamstress.  At the age of four, his father died and an uncle took a major role in his life, including his education. In 1944, he was sent to a school for matadors for two years.  Although isolated from art as presented in museums and other cultural institutions, Botero was influenced by the Baroque style of the colonial churches and the rich life of the city.

Though he spends only one month a year in Colombia, Fernando Botero considers himself the "most Colombian artist living" as he feels insulated from the international trends of the art world.  He shares his time between homes in Pietrasanta, Itlay and Paris with his wife, Greek artist, Sophia Vari.

His style has an unmistakable identity. Botero depicts women, men, daily life, historical events and characters, milestones of art, the still-life and animals, all united by their exaggerated and disproportionate volume, and accompanied by fine details of scathing criticism, irony, humor, and ingenuity.

Jun Kaneko was born in 1942 in Nagoya, Japan and came to the United States in the 1960’s. Particularly drawn to sculptural ceramics, Kaneko studied at the Chouinard Institute of Art during a pivotal time when ceramics as functional craft was expanding to embrace the highest levels of contemporary artistic expression. After studying with Peter Voulkos, Paul Soldner, and Ken Price in California, Kaneko emerged during the time now identified as the “America Clay Revolution.”

Jun Kaneko’s work is defined by its overwhelming scale and exquisite form, implying a spatial relationship between the object and viewer. Evidence of Kaneko’s early years as a painter exists in the richly glazed surfaces and rhythmic pulse of his marks and patterns. The artist’s recent body of work continues this feeling with a series of larger than life bronze heads. Their sheer size combined with the artists hunger to push the physical limitations of his material, generate an undeniable presence.

Carole Feuerman’s sculptures are like minutes from a slice of life, frozen for pause and contemplation. And unlike looking at real people you get the chance for an up-close, unblinking gaze.

Feuerman says that her “work inspires the viewer to look closely at what stands before them.”  She wants the viewer to “complete the story, to reflect and feel touched”.   She explores universal feelings and emotions that are captured in a single, fragmented moment of time. Carole Feuerman’s sculptures are just too believable and she doesn’t forget a single detail. Casting figures from live models in her studio, she then adorns them with every attribute of life-likeness, applying tiny eyelashes, wisps of hair and painting the most convincing skin tones, freckles and veins. 

Because of its faithfulness to reality, her life-size and realistic sculptures are uncanny in that they are simultaneously familiar in their lifelike appearance and yet strange as static works of art.

Born in 1967, Julien Marinetti spent his youth in Paris between the workshops of great artists and national museums. He fed his imagination on cinema, classical music and punk rock. He only spent one day at the Beaux-Arts (French Academy of Fine Arts) before dropping out and devoting himself to art.

In 2004, after years of oil painting, Marinetti renewed his relationship with sculpture. This masterpiece, “Doggy John” rapidly earned him a name in the artistic world.  He is a master of shape and material, but any classicism ends there: the sculpture unexpectedly becomes a three-dimensional canvas or “support-surface” for his imagination.

Painted in the colors of Pop Art and Expressionism, his sculptures embody the swing of the temporalities and natural progression of time.  Sculptures of dogs in unexpected colors, enameled and varnished as a car body, are representations transformed into radiant life-inhabited objects. The colors are the litmus test of his mood, each expressing a state of thought.