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Art & Illusion ART & ILLUSION SUITES N & asdfasdfasdfasdf N I N O An art T P collection M of original works A H Miami Brickell Downtown Art Editor Chelsea Leigh Trescott Allowyourdream@gmail. Copy & Design By com EMILIO ROBBA 2 3JEFFREY ZACHMANN Art, to GREGORY SCOTT DEBORAH STARBUCK refresh our souls and add dimension to our lives. Hampton Inn & Suites Brickell takes pride 4 6 in having acquired an exquisite SAM STARK RAFAEL ESPITIA collection of original art with EVA MILINKOVIK which to surround ourselves and add beauty and depth to our 8 9 being. Our collection is unique— BRUCE CARRINGTON it is more YAACOV AGAM than GUENTHER M. RIESS HENRY B. WHITTAKER visual— 1011 it moves and it Moves us. EMILY ROBINSON 2 [email protected] 3 jeff@zachmann. com 4 [email protected] 12 6 debstarbuck@hotmail. com 8 samstark57@gmail. Contact com eva@tsunamiglass- works.com 9 espitiapintu- [email protected] 10 info@ southbeachdecor.com guentherriess@ yahoo.com 12 emily@emilyrobinsonphoto. EFFREY ZACHMANN is never bored. He likes to go to shows and watch people fall in love with his one of a kind sculptural machines; he even jokes with buyers that ubbed not even he can afford his the “sculp- own creations. tor of But behind flowers,” the humor, EMILIO ROBBA ap- J he’s surprised, proaches nature with the if not hum- bled, by his D own success. His draw to eyes of a designer and architect. Recognized art was set in motion when internationally as special he was a child, fashion- works of art that push ing a sculp- ture out of the boundaries in Art- marbles and dirt behind de-Vivre, his creations his home. It wasn’t until raise the bar for excel- after college, however, that lence. Sensitive to fash- the memory of this gesture ion and interior design excited him enough to trends, Robba continues expand the vision he had to create artistic won- for himself as an artist. ders, conveying high-end Just because he was a potter, style across a variety of Zachmann realized, didn’t fields. The intricate beau- mean he could only ty, charm, and mystique work in clay. The high risk, underlying his collection high reward paid off. While of “flowers of illusion,” he lives his dream, making reveal, however, nature a living at his passion, buyers as his first love and for- pay him for something they sit and watch. That something, which Jeffrey Zachmann has mas- ever his internal source tered, is mystique, a welcomed pause from an overly hyped modern world. of inspiration. With his mutli-colored majestic collection, Emilio Rob- ba compliments nature and brings to it new life. visionary, GREGORY SCOTT blurs mediums to manipulate perception and chal- poignant; how can loneliness be so starkly personal and yet utterly universal; and why does “seri- lenge truth. Incorporating paintings of his body back into his photographs, ous” art have to be so, well, serious? What began as a portrait of Scott’s body has evolved into the the unlikely combination is pure Scott: meta, humorous, and odd. Having philosophy of emotions and everyday life. This work, entitled “Time with Hopper,” is based on successfully doubled his love of painting and photography, at 49, his eye turned to video. Con- Edward Hopper’s “Nighthawks”. Gregory Scott had been looking for a location for years when he Atinuing to use himself as the model, Scott graduated in 2008 with an MFA from Indiana Uni- finally found a diner near Ann Arbor in Ypsilanti, MI that closely resembled Hopper’s painting. versity. Blending all three of his artistic interests, Scott creates narratives on laughter and loneli- Seen here is a replica of the room from the Art Institute of Chicago where “Nighthawks” resides, ness, futility and play, that question our emotional states: How does humor make sadness more when it’s not out on loan. The piece is an Edition of 8 and the video runs 9 minutes, 30 seconds. DO THESE DOORS OPEN & CLOSE? aving had the good fortune of being raised by a painter, DEBORAH STARBUCK spent her youth mir- sional perspective of a painting is reversed by the three dimensional relief on which it is painted. The roring her mother, enthralled by the creative potential of pencil and watercolor. By her teens, she had effect is to confuse the brain such that a completely false image is created that appears “to move” with Hflourished, training privately with renowned Italian-American artist Simon Greco; she went on to be the viewer. In Reverse Perspective, the expected visual rules are inverted, so close objects are small and inspired by the Impressionists and study painting in Avignon, France. far objects are large. This is not only true for whole objects, but their structure as well. So the near Now prolific in various mediums, including papier-mâché, wire and collage, her murals, points of an object are closer together, relative to its far points, which give the flared-out look of the both exterior and interior, are focal doors, and the scene as a whole. points for many of South Florida’s The positions of the anishv - most prominent residences and busi- ing-point and the focal-point have been nesses. swapped. So now we are at the vanish- Starbuck’s dedication to the ing-point, where geometry shrinks to arts includes teaching in South Florida nothingness, and the focal-point lies for over a decade, a forum she uses to some distance ahead, beyond which ob- expose children to the joy of expression jects scale to infinity. Perspective is truly through art. reversed. The originally commissioned This work is optical-illusion, work by Starbuck, “Indoor – Outdoor” and based on reversing parallax and is a Reverse Perspective. It refers to the precession, rather than actually altering illusion created when the two dimen- perspective. hen the glass traps the light Wbetween the layers, SAM STARK wants something magical to happen. Pursuing color theory and the physics of light, Stark may be best understood as the scientist of paint. But to himself, he is no more than the bullfighter of the art world. As a glassblower, “each day is a contest between man and fire.” Developing unique hues and tones, Sam Stark’s new approach focuses on fluidity, superb technique, and the masterful creation of color. Sam’s creation of “Secrets of Biscayne Bay” was specifically commissioned to capture the underwater beauty and mysteries of Miami and its environs. Attentive to conception, visualiza- tion, and design execution, EVA MILINKOVIC their teens, few artists are ever on anyone’s radar. But, having had his incorporates quality, form, n first exhibition at the age of thirteen, and deemed a child prodigy by the nature, and a variety of col- press, RAFAEL ESPITIA certainly was an exception to everyday youth. A ors into her graceful ob- great photorealist early on, his technique has evolved in the wake of thir- jects of decorative blown ty experimental years. Most seduced by the film world and the spirit of color, glass art. Whether creating Espitia approaches art with a conceptual framework, using, for example, wave products or installations, her frequency to produce feelings of “beauty to the brain.” All brushstrokes and philosophy is reflected in the stains are individual effects, magnified by 3D to show a possible image, an ab- consistency and perseverance stract world that the brain must make credible. The partnership here between of her designs. With the idea perception and sub consciousness, intuition and learned reality fits nicely with Espitia’s theo- of scale through multiples, Milinkovic’s continuing mandate is for her work to be efficient and per- ry on color, in that color is not intrinsically understood but, rather, visually pursued and that, sonable, achieving balance between the art of glass design and manufacturing. Found in groupings similar to film’s 3D illusion of depth, objects don’t have color, rather, they appear to. Tak- of color at the hotel bar, the WISP piece in our collection, done in strawberry saffron, was inspired ing the best that each city offers him, Rafael Espitia is as much inspired by the magical ele- by the gentle movement of grass, and intends to play with scale through multiples. Eva Milinkovic’s Iment of his hometown, Cartagena, Colombia, as he is by the exuberant beauty of a woman. DRAPE design, also located in the bar area, utilizes the fluid nature of glass to evoke movement. Here the citron jade etched finish is key to the design, giving the form its softness. highest-selling living Israeli art- The ist, YAACOV AGAM is known for having fundamentally chal- lenged the idea of art as a fixed image, so by updating it to a higher spiritual truth. Breaking through the realm of the second and third dimensions, today Agam inte- grates the fourth dimension by creating kinetic art that transcends the visible and can only be understood as “a partial reve- lation.” His illusion of depth and motion may be best realized in his agamograph prints. Dependent on movement, view- er participation, and angles, the lenticu- lar technique presents radically different images in a single piece, a spellbinding experience that contributes to the magic of 3D and the art of vertigo. Interested in pecializing in digital photography, BRUCE CARRINGTON focuses on decorations on building facades in the Art Deco Historic District seduction and travel, Agam invites viewers to explore worlds full of vibrancy, places that por- of South Beach. Created in the early 1920’s through the 40’s, these idiosyn- tray the intense love he has for imagination, transformation, and will.
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